Wednesday, April 22, 2009

From the cutting room floor: Harron on Bettie Page


In the spring, 2006, The Austin Chronicle ran two articles--"The Notorious Irving Klaw" (March 10, 2006) and "Little Underground Worlds" (April 21, 2006)--centered around my interview with The Notorious Bettie Page director, Mary Harron. As often happens with these type of things, pieces of the interview end up on the cutting room floor. In celebration of Bettie Page's 86th birthday, here are some unexpurgated Harron comments about the world's most famous pin up.




On Bettie's endearing popularity:

Her story is interesting. She disappeared then was re-found, but I think it has to do more with the images themselves. It's a culmination between the very funny, fifties, cheesecakey pin-up stuff and the bondage stuff. At the same time she's still the same person in both sets of worlds... both kinds of photographs. She's always funny and cheery even in the Klaw stuff. [It's] a hidden world of sexuality that we have discovered in the last twenty years that has very much come above ground, but with something hidden and secret, and therefore intriguing. There's that idea of the two worlds. Without that bondage stuff, I don't think she would be nearly as famous as she is today. Even though her other photographs are really wonderful.


People now are very interested in the fifties.. going back to it. But also discovering the hidden aspects of the fifties. All the stuff of American life. In a way it was the height of American stability and prosperity and everything's wonderful. And at the same time there's all these hidden darker things. To try to get a picture of it, then you look at the hidden things. Bettie represents both the public face of the fifties.. all buoyant and healthy and sexy... and her hidden photographs are the darker side.



On the appeal of Bettie to young feminists:

[Betty] is in her own world. It was part of Betty's psychology. She loved to be photographed so much. That was probably her greatest joy and satisfaction to stand on her own being photographed. She's not doing it for anyone else. She just loves it. She's almost like a kid looking in the mirror. She just loves posing. She's not asking for approval or anything. She just had this joy in herself, in her body, and in showing herself off. Young woman like that and they are trying to play with their own femininity or sexuality or try dressing up or try different roles on. She is such an interesting person to try to be because Bettie seems so happy and confident. Also, she's inappropriately happy even when she's in these ridiculous scenes. If people want to play with this kind of bondage fetish stuff, she makes it just like a game because that's all it was for her. She makes it all fun and dress up and play acting, so it makes it a harmless way to try these things out or look at these things.






As popular as the bondage images/movies remain, I much prefer this dance from Varitease.







Sadly, Bettie passed away late last year. She is missed.

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Thursday, April 16, 2009

Wrasslin'



Yet another classic old wrestling joint, which I have absolutely no justification for posting. It's got at least 8 elements that have come together to make this the perfect promo--I'll give you one for free, the pack of cigs hiding in the breast pocket of Harley Race's shirt. Can you all name the others? 


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Sunday, April 12, 2009

Happy Easter to Everybody...Except You

Huh. Looks like Amazon.com has decided to celebrate Easter by stripping books with homosexual themes of their sales rankings. Mark Probst, author of The Filly, asked what was happening and received this response:

In consideration of our entire customer base, we exclude "adult" material from appearing in some searches and best seller lists. Since these lists are generated using sales ranks, adult materials must also be excluded from that feature.


Turns out it's not just books with homosexual content. Author Kelly Eskridge reports that Amazon also dropped the sales rankings of books with heterosexual content.

A plethora of links can be found from Meta Writer. And you can sign a petition protesting Amazon's boneheaded decision here.

From a purely personal standpoint, I'm reserving any decision to purchase from Amazon until they get this straightened out. In the mean time, Happy Easter.

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Friday, April 10, 2009

C.O.U.S.: Reflections from Rick's Collection #26

While "researching" a recent Nexus Graphica, I had reason to look through my collection of Comics Of Unusual Size. This set of the big and small and odd of comicdom offers many gems. Deciding that I really should share some of these largely forgotten and sometime rare pieces, I'm taking you through a tour of the more interesting selections.


Angry Comics #1 (1991) Art by Shane Simmons


Heading north of the border this time with Shane Simmons and his Eyestrain Productions. The prolific Simmons has worked on several TV and film productions and published numerous comics most notably the groundbreaking, minimalist Longshot Comics comedies: The Long and Unlearned Life of Roland Gethers and The Failed Promise of Bradley Gethers. In 1991, Simmons started his run on Angry Comics.


Angry Comics #2-5 (1991-92) Art by Shane Simmons


Angry Comics #6-9 (1992-93) Art by Shane Simmons


As with most cartoonists, Simmons used the form as a sounding board for societal and political ills, combined of course with some often perverse humor.


"Curiosity" by Shane Simmons (Angry Comics #1, 1991)


Issue three featured perhaps the first appearance of Simmons' "talking dots" style.


Longshot Comics "A Little Romance" by Shane Simmons (Angry Comics #3, 1991)


Throughout the run, Simmons prided himself on the disturbing offerings. Among the best of those, "Cooking With Jeffrey Dahmer" a Food Network-styled show starring the cannibalistic serial killer, premiered in #5.


"Cooking With Jeffrey Dahmer" p. 1 by Shane Simmons (Angry Comics #5, 1992)


Simmons toyed with some unusual literary adaptations under the Classics Butchered banner.


Classics Butchered #4 "Jane Eyre" by Shane Simmons (Angry Comics #7, July 1992)


Following the ninth issue, Simmons changed the format from the 8-16 page 25 cent mini-comic to a 16-20 page two dollar digest with color covers. The series continued until issue #13.

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Tuesday, April 7, 2009

C.O.U.S.: Reflections from Rick's Collection #25

While "researching" a recent Nexus Graphica, I had reason to look through my collection of Comics Of Unusual Size. This set of the big and small and odd of comicdom offers many gems. Deciding that I really should share some of these largely forgotten and sometime rare pieces, I'm taking you through a tour of the more interesting selections.


Art by John Lucas


With a style best described as the bastard offspring of Jack Kirby and Alex Toth, prolific artist John Lucas emerged from the wilds of the vibrant nineties Waco, TX indie comics scene.


Promotion for a Violet Crown Radio Players adaptation
of a Robert E. Howard Sailor Steve Costigan tale.
Art by John Lucas.



Also in the nineties, Lucas' quirky work appeared in Mojo Press and Caliber publications.


Cover to Negative Burn #47 (Caliber)
Art by John Lucas



After moving to New York City in 2002, he quickly became a regular contributor for many Marvel and DC titles including Detective Comics, Superman: Man of Steel, Civil War: Front Line, Starman, Generation M, The Exterminators, and X-Men Unlimited.


From 9-11: September 11, 2001
(The World's Finest Comic Book Writers &
Artists Tell Stories to Remember)
(DC)
Art by John Lucas



Sometime in the 2000s, Lucas published Cow! The sketchbook compilation offered a wide selection of his work. All the art in this C.O.U.S. entry come from the 32 page, 5 1/2" x 8 1/2" collection.


Cover to Cow!






Check out more Lucas here.

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Thursday, April 2, 2009

STAPLE! and Alan J. Porter interview


My latest Nexus Graphic column over at SF Site centers on my visit to the 5th STAPLE! con.

Subtitled "the independent media expo," STAPLE! began in March, 2005 after Chris "Uncle Staple" Nicholas, co-creator of You Chose Right The First Time, realized that the Austin area offered enough talent "to put on a pretty good indie comics show" but none in the region. By combining a focus on independent, alternative, and small press media with independent-friendly comic book shop sponsorship and an affordable entrance fee, STAPLE! succeeded like none before. Each successive show, while staying true to Uncle Staple's vision, has attracted more fans and required a larger venue.


More than sixty exhibitor tables showcased a multiplicity of works in both content and medium. The creators and fans present varied in age, race, and gender. In an unusual and welcome change, young adult women represented a large percentage of the attendees. Long seen as a key to the industry's survival, the need for inclusion of women in the field as both creators and fans led to the 1997 creation of the Friends of Lulu, whose "purpose is to promote and encourage female readership and participation in the comic book industry." From where I stood, the group has made serious inroads over the past twelve years.


I then go on to talk about several of the people I met. This issue's reviews all tie in with STAPLE! including coverage on Alan J. Porter's James Bond: The History of the Illustrated 007 and the anticipated The League of Extraordinary Gentlemen Century: 1910.


Speaking of Porter, the latest edition of my Baker's Dozen interview series focuses on Mr. Porter, James Bond, comics, and Cars.

The bottom line is that neither of the property owners; Ian Fleming Publications who hold the rights to the literary Bond, nor Eon Productions, who hold the rights to the cinematic Bond, seem interested in granting a license to do comics. I know of at least one US based publisher who applied a few years ago and was refused. I am working with another US publisher who has a strong track record with high profile licensed properties, to see if we can get something off the ground, but so far have had no response from either license holder.

Believe you me, I would love nothing more than to be writing an ongoing James Bond comic series.








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Wednesday, April 1, 2009

Bradley Denton At April Meeting


Author Bradley Denton will be in attendance at our April 8 meeting when we discuss his novel of the absurd Laughin' Boy. As usual, we're meeting at 7 PM at Flight Path.

I've known Brad for years and the discussion should be entertaining and lively.

I hope to see everyone there.

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