“THERE ARE STORIES ABOUT KIDS AND GROWING UP, AND THERE ARE STORIES ABOUT THE LGBT EXPERIENCE; BUT THE TWO DON’T OFTEN INTERSECT IN A POSITIVE WAY. LGBT ISSUES AREN’T JUST ADULT ISSUES! MY STORIES ARE FOR ALL AGES: POSITIVE STORIES OF KIDS AND YOUNG ADULTS NAVIGATING LIFE AND HELPING EACH OTHER WHILE NOT IGNORING THEIR IDENTITIES AS TRANSGENDER, BISEXUAL, NON-BINARY, LESBIAN, AND MORE.” – GABI MENDEZ, AUTHOR
A Kickstarter campaign is running now and ending on April 7th in support of Lemonade Summer by Gabi Mendez. This is an all-ages graphic novel about queer children, adolescents, teens and young adults coming of age in positive environments and finding supportive communities. The book is 136 pages with full color covers and chapter covers. Each story is a monochromatic color scheme mirroring the sun from noon to dusk, reflecting the characters’ growth in the book. The stories feature young, queer characters who grapple with the conflicts of their own worlds.
Page From “Strays”
“In the summer of our dreams, young pirate runaways learn to accept each other regardless of gender presentation. The new girl in town finds solidarity in female friendship. A roller derby unexpectedly lights the spark of a first-time crush. Friends find confidence in their own voice, and teens face the uncertainty of growing up.”
— Gabi Mendez
Kickstarter Goal: $15,000 currently funded at 40%
Kickstarter Ends: April 7
Support this Kickstarter campaign right HERE.
“We chose to crowd-fund this project to allow us to donate copies to schools, libraries, youth centers and other organizations that would not normally be able to access this book. Currently, our backers will allow us to donate 65 copies.”
— Gabi Mendez
This book is part of Cow House Press. Visit them right here.
“The Fabulous Allan Carr,” directed by Jeffrey Schwarz
Warren Beatty announcing the wrong winner at this year’s Oscars was a disaster but the all-time biggest disaster is so bad that the Academy of Motion Picture Arts and Sciences would rather not discuss it and there is nothing on Youtube to document it, except for a verbal description by comedy writer Bruce Vilanch. The story is about how legendary Hollywood producer Allan Carr ended up creating the strangest opening number ever for the Oscars. That infamous moment, truly mind-bending surreal camp, is the linchpin to a new documentary on a fascinating life and career, “The Fabulous Allan Carr,” directed by Jeffrey Schwarz.
If you were a kid growing up in the ’70s, as one snarky person interviewed in the doc says, there were two big movie events: for straights it was “Star Wars” and, for gays, it was “Grease.” Be that as it may, “Grease,” back in 1978, was a very big deal at my high school, whatever your sexual orientation. I was in the marching band and, as a last-minute prank, many of the boys decided to drop their pants and moon the crowds in the stadium. This was directly inspired by “Grease,” which was as far away from an Oscar opening number flop as you could get. “Grease” was a bonafide hit and it put the movie’s producer, Allan Carr, on the map.
Steve Rubell losing patience escorting Olivia Newton-John and Producer Alan Carr into the “Grease” Party at Studio 54.
How Allan Carr gained the confidence and sense of purpose to become a Hollywood legend is thoroughly explored here. We follow Carr from insecure boy to insecure man, finally losing his virginity in his 30s. Where he was on firm ground was his steadfast desire to put on a show. If you loved “La La Land,” you will relate to Carr’s great love for the grandeur of Old Hollywood, particularly the heyday of movie musicals. After Carr’s success with “Grease,” there would be various ups and downs. One undisputed high point was his producing the Oscar-winning “The Deer Hunter.” And Carr reached his greatest heights producing “La Cage aux Folles” on Broadway.
And then came that incredibly over-the-top opener for the 1989 Oscars. The clip below is not from the documentary but gives you an understanding of what all the fuss was about. This is Bruce Vilanch who, by the way, does provide some wonderful segments exclusively made for the documentary:
EDITOR’S UPDATE: Okay, it turns out that the “infamous” 1989 Oscars opening segment is currently available on YouTube. And, like many a legend, there is more to this story. Basically, it helps to view the above segment with Bruce Vilanch along with seeing the actual footage. Vilanch makes a big mistake by adding to the legend with his hyperbolic description of the show. Despite that, he provides the necessary context. Most importantly, Vilanch explains that this was a case of “manufactured outrage” by Disney president Frank Wells, who lodged a complaint against the Academy even though Snow White is in the public domain. The truth is, Disney was hypersensitive about advertising concerns. Here is the clip. You will likely find this to be charming, entertaining, and heartfelt:
After “Grease” would come Carr’s first big misstep: 1980’s “Can’t Stop the Music,” the musical showcasing The Village People. Carr had hoped to bring abroad Olivia Newton-John for a lead role but, after reading the script, she rejected it. So did Cher and Raquel Welch. However, Carr was able to secure Valerie Perrine. Carr also enlisted a rising star, Steve Guttenberg. The whole affair was directed by veteran funny lady Nancy Walker who was not much of a director. In the end, this was a classic Carr flop: over-sexed camp too far out on a limb. And so he moved on to the next project, and the next.
In time, Carr would find himself. One key personal moment was when he discovered caftans. The spacious velvety robe allowed Carr’s undisciplined body to run free. With a caftan, he could relax and be more open about himself and his sexuality. The ups and downs of his projects would settle into perspective. There would be the undisputed triumphs. And, in the end, he could say he lived his life to the fullest.
“The Fabulous Allan Carr,” directed by Jeffrey Schwarz, was a standout at this year’s Seattle International Film Festival. The documentary is based upon the book, “Party Animals: A Hollywood Tale of Sex, Drugs, and Rock ‘n’ Roll Starring the Fabulous Allan Carr” by Robert Hofler. As the story about a gay chubby insecure boy who grows up to live out his wildest dreams, it provides another compelling view of the hopes and dreams of La La Land.
I am a big fan of Matt MacFarland’s DARK PANTS series. You can read my review on the previous two issues right here. The third issue is now out and it follows Phil, a teenager in Silver Lake, California, circa 1988. As Matt described to me in an interview, each new issue focuses on a different time and place in the Los Angeles area. The motif is a mysterious pair of black jeans and the sexual awakening they trigger in whoever wears them.
Page from DARK PANTS #3
For our hero, Phil, life has been hell as he struggles with his sexuality. Phil is navigating in a very oppressive environment. The last thing he wants to consider is being gay. But, once his fate crosses paths with those alluring dark pants, he gains enough confidence to explore his options a little bit. MacFarland is relentless in his depiction of Phil’s inability to be true to himself. It seems as if his embracing his truth is filled with nothing but pain. Gradually, MacFarland hints that Phil may ultimately find pleasure but it sure won’t come easy.
Reading DARK PANTS #3
The easiest thing that Phil can rely upon is his imagining having sex with teen heartthrob John Stamos. It’s a pretty funny and sobering fact. Phil thinks about it and he knows he likes it. But he’d rather hide. Things come to a head, so to speak, when Lisa, his supposed dream girl, lures him away to a bedroom. It’s his big chance to prove he’s not gay to his confused and frustrated self but all he can think about is…John Stamos. As for Lisa, she will have her day. It looks like she is the subject of the fourth issue set in Eagle Rock, California, circa 2016.
No matter how empowering those dark pants are, they are no match for an awkward teen. Phil is simply ill-equipped to harness his new raw power. He makes some progress but not quite what he might have expected. MacFarland’s drawing and writing is highly accessible. He immerses the reader in the inner turmoil that his characters are going through. With just the right touch of humor, MacFarland offers us stories of missteps of the heart that will stay with us.
If you are in the L.A. area this weekend, be sure to see Matt MacFarland on Saturday, July 16th, from 5-7pm at the Los Angeles County Store in Silver Lake. Find out more right here.
David Schmader is an American writer known for his solo plays, his writing for the Seattle newsweekly The Stranger, and his annotated screenings of Paul Verhoeven’s “Showgirls.” He is the author of the 2016 book “Weed: The User’s Guide.” And he is the Creative Director of the Greater Seattle Bureau of Fearless Ideas, a literary arts center offering free programs for youth ages 6 to 18. I had the opportunity to interview David and discuss better approaches to community and seeking common ground. Locally, for those of us who are a part of the Greenwood neighborhood of Seattle, we have been undergoing a recharge, a rallying around, after a gas leak explosion that tore into the fabric of everyday life. With BFI preparing to return to its original Greenwood site this month, it seemed to me a good time to check in with a thoughtful leader in our community. I begin our interview going back to that March 9th gas leak explosion in the middle of the night. Fueled with cups of coffee, we settled in at Couth Buzzard Books for this interview.
Eric Orner is one of the pioneers in LGBT comics. “The Completely Unfabulous Social Life of Ethan Green,” published by Northwest Press, is a great way to not only further establish him in the canon of LGBT comics, but simply to showcase the work of an excellent cartoonist.
All of us cartoonists can learn from Eric Orner. Just when you get that first wave of resistance, that’s when you push back a little harder. Orner had tales to tell, just like Howard Cruse before him and Alison Bechdel right alongside him, and they could not wait.
Orner’s comic strip ran in that fuzzy, chaotic, and bubbling time (1989-2005), before the internet and digital and then well into it. Orner grew as a person and as an artist. Collected here are some 300 of his groundbreaking comic strips. Well before Ellen DeGeneres was ready to come out, and perhaps a mainstream audience was ready to accept her, there was this comic strip. And casting the longest shadow, the less understood epidemic of AIDS, which Orner would address with both grace and thoughtful humor. Bit by bit, Orner was there to chronicle, in retrospect, a most confused and dangerous time–and it wasn’t that long ago and it’s still unfolding before us.
By 1997, the Ethan Green comic strip appeared in every large city and most mid-sized cities in the United States, as well as running in Canada and overseas. As Orner states in one of the section introductions, “Given that I wasn’t watering down the content, the fact that this very gay comic strip seemed to be building a readership among straight folks was a source of pride.”
Still, controversy could easily arise when least expected. It was also in 1997 that Baltimore’s alt-weekly, City Paper, had to fend off a church group that took great offense over a mild sex scene in the comic strip, something akin to soap opera content. Maybe they were just waiting for the very next depiction of two men making love anywhere to set them off.
Just as a comic strip unfraid to grow, Ethan Green stands out. As anyone who does a webcomic today can attest, there is an unrelenting grind that a cartoonist can succumb to. But, even in the earliest years, Orner was willing to push his artistic and literary limits. Right from the start, he aspired to reach greater heights of insight and downright zaniness. In one strip, circa 1990, he has The Hat Sisters attempt to save lives through time travel. For every vulnerable penis they find, they sheath it with a condom. Everything in the strip is in balance and it speaks volumes.
Towards the end of Ethan Green’s run, in 2005, a couple of young independent filmmakers from Hollywood adapted the comic strip into a movie. It premiered at the TriBeCa Film Festival and enjoyed a 19-city theatrical release in 2006.
Ultimately, Eric Orner’s comic strip enjoyed a great run. And now it is collected in this deluxe edition and off to begin a whole new life with old fans and new readers.
“The Completely Unfabulous Social Life of Ethan Green” is a 228-page trade paperback, black & white and in color, priced at $24.99, and available now. For more details, visit our friends at Northwest Press right here.
How do we connect? We do it, or try to do it, in a variety a ways. It’s not always easy but it’s far better than its opposite, to disconnect. I aspire to connect with you. I make this preface because I am genuinely inspired by my latest subject for review, Joel Craig’s graphic memoir, WELCOME TO NURSING HELLo.
Northwest Press has recently published two excellent anthologies that feature a stellar roster of cartoonists exploring issues of sexuality. Both are highly recommended as showcases of comics discourse. It can be a challenge to find the right balance when putting together any anthology, especially one collecting works in comics. You want to find a way for each work to compliment the other in a medium that quickly signals the reader. In both these cases here, you have two books worthy of exploration, one a recent entry and the other from last year.
“The Lengths” is a graphic novel about addiction, published by Soaring Penguin Press. The title refers to the lenghts to which a young man, Eddie, will go to feed his desire. Howard Hardiman has written and drawn a graphic novel about a youth out of control and in conflict. It is a very rough story about a rough subject that Hardiman navigates quite well. His character, Eddie, is a 24-year-old art school drop out who is gay and unsure about what he wants. He may want a relationship but he is also attracted to what he gets from his role as Ford, an escort. It’s a pretty lurid and gritty premise. Something like this could easily fall apart, as can happen with any story that deals with sex. But sex is only part of what Hardiman has to talk about. And to create some distance to better address and understand the content, he represents all his characters as dogs. It may seem odd at first, but it turns out to be a wonderful narrative device.
Dylan Edwards has written and drawn a graphic novel, “Transposes,” published by Northwest Press, that helps us all better understand and embrace the transgender community by exploring a specific group within it, “queer-identified female to male transpeople,” or “QFTMS.” If that sounds a little too Otherly, rest assured that this collection of stories is warm and heartfelt. Through his skills as a cartoonist, Edwards brings to life six distinct true stories of transgender men.
What is apparent from the start is the enthusiasm that Edwards has for sharing with you what he’s learned and, inextricably linked to that, his faith in his skills and the comics medium, itself, to tell these stories. Edwards is not afraid to depict himself in a few pages of introduction. He makes clear this book is not going to be about him but his direct presence sets the tone: we’re going to be irreverent and have fun; and we’re also going to get to the point and be honest. The artwork will be a nice, spare, cartoony style but with a human touch. The narrative will be accessible with some inventive use of form to keep it interesting.
Once we’ve got that covered, we’re all set to delve into a variety of stories about love, sex, relationships, and journeys of self-discovery. As we learn in life, sex is fabulous, exciting, mind-blowing, but it’s only a part of one’s life. Love, compassion, and understanding will rule the day, and days, months, and years in the long-term. Each character in this collection is searching for something greater than themselves.
Even if there’s a desire to remain single and play the field, there’s still a need to reflect and contemplate. In the case of these stories of transgender, of course, the emphasis is more sharply upon the body. However, what we appreciate from this book is that issues of the body are as vital and universal as you can get. Instead of these stories being about just one particular group, they truly speak to anyone.
“Adam,” for example, is a heartbreaking love story about the struggles of one couple to come to terms with not being right for each other. It’s Marni who is quick to pick up on the problems that lie ahead: her girlfriend would much prefer to be a man but just doesn’t know it yet. Bit by bit, Marni helps Adam find his way. As they sit on the couch and have the “we need to talk” talk, it’s clear that Marni’s love for Adam is great and she’ll miss him.
“Henry” is a fine example of Edwards tweaking the traditional narrative. We are presented with Henry’s story as if it were a museum exhibit, due to his fastidious need for proper documentation. We walk through the rooms and display cases to find one person’s struggle with identity. But it’s not all struggle. In quiet safe moments, it’s just learning about one’s self. And then it’s refining what one’s learned, editing as you go, all the way through the rest of your life.
“Transposes” is a book that readers can warmly embrace. It presents specific, as well as, universal truths with art and writing that is inviting and accessible.
“Transposes” is a 115-page graphic novel, priced at $19.99. Visit Dylan Edwards here. And visit our friends at Northwest Press here.
“Wibbly-Wobbly Sexy-Wexy.” Don’t you just feel more sexy saying that? This is a new term coming out from the new comics anthology, ANYTHING THAT LOVES, published by Northwest Press. What does it mean? Where did it come from? It is a way to express yourself about your sexuality. It is a liberating way to say that you are more than just a category like “gay” or “straight.” The germ for the idea goes back to a “Doctor Who” episode where the good doctor summarizes time travel as something beyond a simple explanation, all “wibbly-wobbly.”