A true curiosity shop is something to behold. Certain things are a given. Antiques. Vintage. Oddities. The magic comes in when you feel that you’ve entered into another world. If you are in Seattle, then you have to go to Ballyhoo Curiosity Shop. I’ve been thinking about doing a post on this shop for a while now. What I’ve always enjoyed about Ballyhoo is its funhouse experience coupled with its orderly presentation. Ballyhoo invites you to discover new and weird stuff while also making it easy to gain access to it. So, see for yourself in person. For now, enjoy my video tour. I welcome your comments, likes, and subscribing:
It’s human nature to want to wander around and explore. Some people take it farther than others. Some people find a particular itch to scratch. What are you in the mood for? Something old with character or something that pushes the envelope? You can satisfy your cravings in so many ways– and with a touch of strange.
Ballyhoo Curiosity Shop
Ryan Robbins, owner of Ballyhoo Curiosity Shop, is a gracious beacon of light. The key to success in any endeavor is passion. That is exactly what Ryan has to share with all of his customers. With palpable enthusiasm, Ryan described his vision for Ballyhoo as evoking the feeling of being in another world, one where anything is possible. Maybe something out of the movie, “Gremlins,” or “Indiana Jones,” or a haunted house in New Orleans.
Ballyhoo Curiosity Shop
Enter Ballyhoo’s wonderland and you’ve entered a tidy collection of stores within a larger framework: nautical, ethnographic, fossils and minerals. The quirky alongside the esoteric. You’ve entered a museum and funhouse.
We want to be taken out of our comfort zone, at least those of us that like to meet at curiosity shops. We want to slip into the unexpected. And we’re smart, very smart, about it. Maybe we get a tattoo at midnight, but it’s something that we’ve been planning on for months, maybe years.
Ballyhoo Curiosity Shop
Ballyhoo Curiosity Shop
Whatever you may end up purchasing at a curiosity shop comes with a certain level of commitment. Are you ready to own a significant piece of taxidermy? Or how about a gem, a print, or a t-shirt? Some of the oddest items get snatched up by bar owners and tattoo shop owners. Other items find homes as much from tourists as from local shoppers. Yes, Ballyhoo has its share of regulars. So, rest assured, whatever your tastes, there’s something for you at Ballyhoo Curiosity Shop, in Seattle’s Ballard Avenue Historic District.
As always, I welcome your likes, comments, and following. Be sure to like and comment at the Comics Grinder Facebook page too. You help make Comics Grinder special.
“Geek Ink: The World’s Smartest Tattoos for Rebels, Nerds, Scientists, and Intellectuals”
GEEK INK is much more than just a book about tattoos or a collection of way cool tattoos. This is truly exceptional first-rate work from some of the best talent working today around the world. GEEK INK is a book that showcases tattoos artists from Inkstinct, the world’s largest online tattoo studio directory and app. GEEK INK is published by Race Point Publishing, an imprint of The Quarto Group.
New York City tattoo artist Emrah Ozhan
Here you will find exquisite work like that of Emrah Ozhan, an artist from Istanbul, based in New York City. Ozhan is a multidisciplinary artist celebrated for his tattoo work. His portfolio includes tattoo work, graphic and fashion design, music, collaborations, and fine art.
L.A. tattoo artist Lustandconsume aka Phil Tworavens
Way across to the U.S. west coast, you can find L.A. tattoo artist Lustandconsume aka Phil Tworavens. This is very trippy and very impressive work. No wonder he’s a legend of blackwork tattooing.
The book is split into two sections. The first section covers profiles of tattoo master artists while the second provides galleries of work divided into categories. Every artist here is part of Inkstinct. There are twenty-five artists featured in lengthy features which are, I kid you not, like chatting with master tattoo artists and having them share tips and secrets. I have done a lot of research on tattoos. I am a huge fan. I simply adore tattoos and embrace the community. This book will fit right in for those new to tattoos and for longtime connoisseurs.
Examples of Fantasy Tattoo Art
The second half of the book takes just as meticulous care as the previous profiles and presents tattoo artwork in sixteen categories. This includes work in the fantasy category that includes the above example: from clockwise: Maleficent-inspired tattoo by Maria Fernandez; City in The Clouds by Jessica Svartvit; and Unicorn tattoo by Rob Carvalho, inspired by My Little Pony: Friendship is Magic.
For me, tattoos have been on my radar for quite a long time and I’m always on the lookout for resource material. I am gradually getting inked and, who knows, I may need to actually pursue being a tattoo artist myself down the road. There are a ton of books on tattoos but GEEK INK truly stands out for its high quality presentation and genuine insight. You won’t learn how to tattoo from this book. This is the sort of book that people turn to for gems of insight and inspiration. For casual observers too, this will prove a handy all-in-one guidebook on what’s hot today in tattoos.
“Geek Ink: The World’s Smartest Tattoos for Rebels, Nerds, Scientists, and Intellectuals” is a 224-page hardcover in full color and is available now. For more details, visit The Quarto Group.
Planet of the Apes: Visionaries cover by Paolo Rivera
I have things I want to tell you and share with you–I’m that sort of guy. I value the time and effort involved in putting together any post that is more than just posting a press release–but sometimes you really can’t help yourself and you want to share a press release, especially one you may have missed. Any nerd worth their weight in gold can easily attest to the fact that Rod Serling was originally picked to write the screenplay for “Planet of the Apes.” But then, Hollywood being Hollywood, an opportunity at something deliciously original was pissed on. Well, they kept his idea of the Statue of Liberty sunk neck-deep on a beach. Fast forward, gulp, fifty frickin’ years and now we can enjoy a graphic novel adaptation of what Rod Serling would have done, had he been given the green light. Thanks to the bright minds at Boom! Studios, we will finally get what we should have gotten well-nigh a lifetime ago! Seek it out this August. Press release, as promised, follows:
Emerald City Comicon is and integral part of the fabric of Seattle. It is a tradition that has grown and developed into an impressive and highly anticipated annual event. ECCC is one of the first, if not the first stop, for many creatives as they embark upon their comics convention tours–and a most welcome one. That has a lot to do with ReedPOP‘s leadership. And, of course, it has a lot to do with so many loyal fans of a uniquely Pacific Northwest celebration of pop culture. Maybe folks are more polite and mellow in this region. We won’t dissect it any further and just be grateful. Now is the time to get ready and to keep an eye out for updates on all things ECCC.
ECCC and SYFY WIRE
JENNIFER MORRISON at ECCC 2018
Whether it is a chance to see two of the legends from “Back to Future,” Christopher Lloyd (Doc Brown) and Tom Wilson (Biff Tannen) or a favorite talent at Artist Alley, there is something for everyone at ECCC.
BACK TO THE FUTURE at ECCC 2018
ECCC Artist Alley 2018
ECCC Artist Alley 2018
As usual, Comics Grinder will venture out and report back from various panels, activity on the showroom floor, and whatever should catch the eye. If you are in Seattle, and love comics and pop culture, then make sure to be part of Emerald City Comicon.
This week, The New York Times declares that words are dead–in so many words. Perhaps Malcolm Gladwell awoke from a fever dream and gave the nod that we had finally reached that tipping point. Well, it would have to be a nod, right? You know, since words are dead and all. We will miss words–they were so helpful with so many things. Farhad Manjoo begins this special supplement that ran on 12 February 2018 with this cryptic message (the old fashioned text itself, by the way, begins with a young woman starting back at you from a video loop):
I’ll make this short: The thing you’re doing now, reading prose on a screen, is going out of fashion.
Yikes, such a message is running on borrowed time, is it not? You know, given that words will soon be obsolete! I guess it sort of sounds cool to make such a pronouncement, right? So, Marshall McLuhan or Malcolm Gladwell to declare it. But are words really dead? In a sense, that is what The New York Times is suggesting. Of course, there is more to this thesis. Is it possible to turn over a new leaf like Ebenezer Scrooge and make it right again? Well, no. The argument here is that this is not a matter of right or wrong–it simply is what it is:
THIS MULTIMEDIA INTERNET has been gaining on the text-based internet for years. But last year, the story accelerated sharply, and now audio and video are unstoppable. The most influential communicators online once worked on web pages and blogs. They’re now making podcasts, Netflix shows, propaganda memes, Instagram and YouTube channels, and apps like HQ Trivia.
Will this make you want to abandon your own blog writing? I hope not since I think you can sniff out the hype. Honestly, I think it just makes me want to keep doing what I’m doing all the more since I have specific reasons for working directly with the written word–which have to do with the fact written words are too precious to dismiss. That may sound a bit too erudite but, no, what I’m saying here is all very straightforward. Words, especially written words, are part of our DNA. Until we become something other than human, we will all gain essential mental nourishment from reading prose. If you were a cyborg, you may defer or maybe you would still agree with me.
But are words really dead?
And so The New York Times special media supplement is part hype and part of “all the news that’s fit to print.” We cannot hide under a rock, that’s for sure. I do have my very own YouTube Channel but, compared to my blog, it is not really an issue of one medium being more or less compelling than another. These are simply different formats. It’s totally apples and oranges to me. I enjoy using a variety of media. But I sure as hell am not going to feel less relevant or cool because, at the end of the day, I prefer the written word most of all. I suspect that you do too. And that’s okay.
“Why Comics? From Underground to Everywhere,” by Hillary Chute, published by HarperCollins, is a highly informative, accessible, and delightful look at the evolution of comics, with the primary focus on American comics. As the title suggests, what used to be strictly an underground thing has now emerged virtually everywhere. Chute’s goal is to unpack that phenomenon. She goes about it with great enthusiasm and clearly makes a significant contribution to the ongoing writing about comics. This is a must-read for anyone interested in pop culture, comics, and art in general.
Zap Comix #1, 1968
Okay, so comics are everywhere. Who, for instance, are the characters gracing the cover to this book? Chute, a natural teacher, is so glad you asked. She will come right out and tell you who and then explain the interconnections. First of all, this is Maggie and Hopey, lead characters in what is understood by many to be the greatest ongoing comic of them all, “Love and Rockets,” by the Hernandez Brothers. Where did this comic come from? How does it fit in with other comics? Why is this comic significant? Ah, for that matter, you may shout out, “Why Comics?!” Chute is happy to answer all your questions and much more. Well, this comic is part of a second wave of underground comics in the ’80s. And this comic is a response to a lot of things, including a lack of diversity in mainstream comics. But, before that, there was the original wave of underground comics in the Sixties led by R. Crumb and his Zap Comix. And, as many a conversation on the comics convention floor on zines and mini-comics will attest, even today’s superhero comics genre all began as indie comics by two teenagers, Jerry Siegel and Joe Shuster.
Page excerpt from Art Spiegelman’s MAUS
Chute’s search for patterns in the making of comics leads her to some of the most celebrated trailblazers, notably Art Spiegelman. Chute was the associate editor of “MetaMaus,” the definitive companion to Spiegelman’s “Maus,” and she has a great deal of insight to share. Chute guides the reader from Spiegelman, in his youth in San Francisco to his subsequent work in earnest. It was in 1972 that Justin Green, author of the first autobio comic, “Binky Brown Meets the Holy Virgin Mary,” invited Spiegelman to contribute to a comics anthology. The only stipulation was that the work had to feature anthropomorphic animal characters. And so began Spiegelman’s first steps toward the work in comics most people are aware of, “Maus.” Chute then follows Spiegelman’s progress as he reaches great heights of creativity. Here below, Chute describes how Spiegelman plays with the fluidity of time:
“Spiegelman creates a physical connection between panels set in the past and panels set in the present, linking them, as in panels in which Art’s cigarette smoke is figured as the smoke coming out of an Auschwitz crematorium chimney directly below it on the page. But in others, he exploits the language of comics–the convention that each panel represents a distinct moment of time–to make two different time periods literally intertwine. We see this in the striking page in which Vladek, Art, and Françoise–herself a character in ‘Maus’–converse in the Catskills during a summer visit to Vladek’s bungalow. On their way to the supermarket in the car, Art changes the topic from his stepmother, Mala, to Auschwitz, asking his father about a prisoner revolt. The last panel of the page, in which Vladek describes its fallout, is its largest: as the family car weaves through dense rural roads, the legs of four Jewish girls hanged in Auschwitz after the revolt–witnessed firsthand by Vladek–suddenly appear dangling from the trees. The 1940s and the ’70s collapse, as Spiegelman shows, wordlessly, how the traumatic past lives on in the present.”
Page excerpt from Marjane Satrapi’s PERSEPOLIS
Much in the same way that the 1951 landmark coming-of-age novel, “The Catcher in the Rye,” by J.D. Salinger, became the template for aspiring young novelists, so too did “Maus” serve as a guide for cartoonists on the rise. Observe how Marjane Satrapi’s “Persepolis,” first published in 2000, follows a similar format and technique as Spiegelman’s landmark work. Certainly, Satrapi’s work is wonderfully original. That said, it does follow certain style and content choices first established by leading artists such as Spiegelman. Chute is not making this particular argument but she does lay out the characteristics of what has become accepted in a work by an independent cartoonist: the work is honest, personal, and usually autobiographical; the work is all done by hand, including the borders and lettering, with a less polished finish than mainstream comics; and the work is usually done by one person. In that sense, Satrapi is following in a tradition begun by such artists as Crumb and Spiegelman.
Panel excerpt from Chris Ware’s BUILDING STORIES
Another cartoonist who looms larger in Chute’s book is Chris Ware–and for good reason. The history of American comics is essentially Winsor McCay leading the start and Chris Ware leading the current state of affairs. And it is both of these cartoonists, and so many others in between, who seem to share Ware’s tragicomic point of view of being “well-appointed and feeling lonely.” Cartoonists are something of exotic birds to begin with–whether or not the public notices. But to really make one’s mark in comics, to resonate with critics and fans alike, is quite an achievement. One achieved by such cartoonists as Chris Ware, Charles Burns, and Gary Panter–all of whom would get their big breaks by appearing in Raw magazine, a comics anthology led by Art Spiegelman.
Gary Panter cover for Raw #2.1, 1989
Chute organzies her narrative within categories such as “Why Disaster?” and “Why Sex?” Each chapter category acts as an umbrella that covers a certain facet of comics. In the chapter, “Why Punk?” Chute describes the rise of two friends deeply involved with the punk movement: Matt Groening and Gary Panter, along with other relevant artists like Raymond Pettibon. As for Groening and Panter, they held to their punk ideals while also driven to succeed–“The Simpsons” for Groening; “Pee-wee’s Playhouse” for Panter. Chute makes sure to point out that Bart Simpson–the cartoon character everyone thinks they know–is, in fact, a sly reference (right down to the jaggedy crewcut) to Panter’s underground hero, Jimbo, the antithesis of the mainstream. And, as Chute’s title declares, comics have gone from the underground to everywhere in more ways than one.
Matt Groening holds up Bart Simpson and Gary Panter’s Jimbo
“Why Comics? From Underground to Everywhere” is a 464-page hardcover published by HarperCollins. For more details, visit HarperCollins right here.
As cannabis steadily moves from counterculture to mainstream, the time is perfect for 420TV, the new hub for cannabis news and entertainment, set to launch in early 2018. One of the new shows on 420TV will be a first-run animated series from long-time director of “The Simpsons,” David Silverman. Created for mature audiences, “SUPER SLACKERS” is a comedy about a group of lazy friends unwittingly thrust into the life of superheroes.
Another distinctive feature of this show is that it will be voiced by a a veritable “who’s who” of social influencers whose combined following tops 35 million. “SUPER SLACKERS” features hip-hop artist/actor Jerry Purpdrank; video/music producer & infamous slap-cammer Max Jr.; martial artist, dancer & comedian Dan Nampaikid; professional soccer player-turned-actor, director & content creator, Jon Paul Piques; Smosh YouTube star Olivia Sui; stand-up comedian/writer Arantza Fahnbulleh; and traditional actor/comedian Mickey Gooch, who was recently featured in the hit movie “How to Be Single,” and the indie comedies “Clapper” and “Deported.”
The animated series’ six-episode first season follows a group of friends who discover they have superpowers after their weed is switched with a new strain being used in a government experiment. When a Professor Xavier-type shows up to train them, they have no interest in saving the world. They agree to move into a rent-free government compound, but all they want to do is watch TV and play video games. The Professor is convinced he can turn them into the heroes that the world needs — but can he do it before their infectious laziness spreads to the rest of the agents?
“SUPER SLACKERS” is created and directed by David Silverman (“The Simpsons”), written by Joelle Sellner (“Sonic Boom”) and animated by Mike Blum (Pipsqueak). Executive Producers are Mickey Gooch (Skit Bags Entertainment), Warren Zide (“American Pie”), digital entertainment manager/attorney Ash Venkatram and entrepreneur Ranajit Chaudhury. Usman Shaikh is Co-Executive Producer. The series was introduced to 420TV by talent manager Leanne Perice.
SUPER SLACKERS on 420TV
“‘SUPER SLACKERS’ is the first original animated series from a director in the traditional space that leverages the talents and audience of household digital stars,” said Ash Venkatram. “By choosing a racially diverse cast and throwing them into the culture of cannabis, we hope to give viewers a refreshing change from the vanilla content they normally consume on linear television.”
“420TV is thrilled to be offering the latest animated comedy created by David Silverman, a wonderfully gifted animator who has a long history of producing tremendously successful shows. His new, first-run series, which will make its global premiere on 420TV, is equal parts funny, twisted and cool. ‘SUPER SLACKERS’ is also a perfect complement to our lineup, as we look to create and secure cannabis-friendly content for both the converted and the curious,” said Alex Nahai, a partner in 420TV.
Added David Silverman: “I couldn’t imagine a more fitting home for ‘SUPER SLACKERS’ than 420TV, with its appeal to a very open-minded, socially connected audience.”
Debuting in early 2018, and initially available through 420TV.com and its mobile applications, 420TV is a premium 4K video-on-demand network devoted to all things cannabis. It will deliver original programming produced exclusively for the multi-platform channel, in addition to acquired long and short-form entertainment. Content categories in development include news, information, food, fashion, comedy, music and animation, as well as acquired feature films, documentaries, music and live streaming events. 420TV was developed by 420 Entertainment Group, comprised of OWNZONES Media Network, Genesis Media and Alex Nahai Enterprises. For more information, follow www.420TV.com.
The Giant Jackalope illustration by Henry Chamberlain
It is always a pleasure to review anything that falls within the category of attire or accessory in the geek lifestyle. So, Comics Grinder is very happy to share with you Dive Bar Shirt Club. As the name implies, this is a club devoted to shirts. Each month you get a quality shirt honoring a dive bar chosen for its distinction and originality. A new dive bar design is featured every month and, once that month is up, that shirt is retired forever.
We all seek distinction and originality. It’s another way of simply saying that we are attracted to things that are cool. I was on the road, during a carefree summer in my youth, when I spotted what had to be the best roadside attraction I’d ever seen. It was an homage to the jackalope, that staple of Americana, the cross between a jackrabbit and an antelope. This sucker was huge and it was perched atop a glorious dive bar. It was a warm summer night that seemed to promise adventure. I had to walk in.
Inside the bar, I did a double-take. The place was immaculate. I was expecting it to be a well-worn, musty, and gaudy place. But, no, this place was classy. And there was no carryover of the jackalope theme. Instead, the red leather booths were nicely kept and all the brass piping was polished. There were a couple of gents in suits looking very retro. Again, I was expecting a far more casual vibe. The waitress was a beauty all done up in a vintage dress. All this seemed too formal for a place in the middle of nowhere. I was outside a little town in Texas, not a Vegas casino in the ’50s.
Her name was Sadie. “What will you have, stranger?” she asked with the longest lashes I’d ever had the pleasure to admire.
I’d had a good look at the list of mixed drinks. When I read it on the menu, I had to have it. “I’ll take The Jackalope.”
Sadie just stared at me. Her eyes grew wide. With a tremble in her voice, she asked, “You mean, The Jackalope, right?”
“Yes,” I said firmly, “I’m here for The Jackalope!”
I must have raised my voice because the two fugitives from “Mad Men” turned to have a good look at me. They proceeded to get up from their booth and walk over to me.
“You’re really here for The Jackalope?”
I think I lost it at that point. “I don’t know what you people mean!” I yelled and ran out the front door.
I was heading for my car when it dawned on me. I slowly turned around and looked up. There it was. It hissed and glared at me. Then, with a mighty leap, that monster flew up into the air like the most lucid nightmare. This was followed by a massive thud which was quickly followed by the lightening speed of a creature from hell. And, hell yes, it was distinctive and original!
If you’re like me, you desire that added spice, that distinction and originality. You too can find it in a unique t-shirt from Dive Bar Shirt Club. In the video below, I’m sporting just the ticket. This Dive Bar Shirt Club t-shirt celebrates Goat Hill Tavern in Costa Mesa, California. This is one awesome combination of style and comfort.
Mark Gottlieb is a composer and a lucky person to have been a lifelong friend of screenwriter George Clayton Johnson. This friendship led to a collaboration between Gottlieb and Johnson on “Zola,” a compelling musical that features the Dreyfus affair, a scandal that rocked France at the end of the 19th century and reverberates to this very day. There are a number of things to unpack and discuss here. We begin with an overview of what the infamous Dreyfus affair was all about and go from there, with plenty of recollections about the great ole storyteller, the timeless, George Clayton Johnson.
The Dreyfus affair focuses upon a wrongly accused man who made the perfect scapegoat for the time. Considering how Rod Serling was such a steadfast advocate for human rights, it is quite fitting to find George Clayton Johnson, one of Serling’s fellow writers on The Twilight Zone, as co-creator of this musical. Johnson was always a person to side with the nonconformist. So, it was natural when Gottlieb, in search of a libretto, came calling on George. The two entered upon a partnership and worked, off and on, on the Zola musical for many years. Since the death of George Clayton Johnson in 2015, the impetus has been to get the musical out into the world. To that end, Gottlieb is contacting like-minded souls such as myself to help spread the word. As someone who also got to enjoy a special connection with George, it is my pleasure to present to you this conversation I had with Mark Gottlieb recently.
Now, a little history: The Dreyfus affair occurred during France’s Third Republic. It was sparked by the wrongful imprisonment of French army captain Alfred Dreyfus in 1894. The matter would officially drag on until 1906. Dreyfus was convicted of treason for allegedly selling military secrets to the Germans in December 1894. At first the public supported the conviction; it was willing to believe in the guilt of Dreyfus, who was Jewish. Much of the early publicity surrounding the case came from anti-Semitic groups (especially the newspaper La Libre Parole, edited by Édouard Drumont), to whom Dreyfus symbolized the supposed disloyalty of French Jews.
The effort to reverse the sentence was at first limited to members of the Dreyfus family, but, as evidence pointing to the guilt of another French officer, Ferdinand Walsin-Esterhazy, came to light from 1896, the pro-Dreyfus side slowly gained adherents (among them journalists Joseph Reinach and Georges Clemenceau—the future World War I premier—and a senator, Auguste Scheurer-Kestner). The accusations against Esterhazy resulted in a court-martial that acquitted him of treason (January 1898). To protest against the verdict, the novelist Émile Zola wrote a letter titled “J’accuse,” published in Clemenceau’s newspaper L’Aurore. In it he attacked the army for covering up its mistaken conviction of Dreyfus, an action for which Zola was found guilty of libel.
What follows is my interview with Mark Gottlieb. Here we begin with the Dreyfus affair and quickly dig deeper into the issues involved. Then we steadily see how Gottlieb and Johnson joined together as a creative team. In the process, we get a unique inside view into the world of George Clayton Johnson, a unique voice in storytelling. He is best known for iconic episodes of The Twilight Zone like “Kick the Can,” and “Nothing in the Dark.” Among his work, he is also known for writing “Man Trap,” the first episode broadcast of Star Trek, as well as being the co-writer, with William F. Nolan, of the landmark science fiction novel, “Logan’s Run.” Lastly, I have to say, I believe this interview will really hook you in. The proper warm up and set up is done and off we go:
A Village Voice newspaper stand lays on the ground next to garbage in New York City’s East Village on Tuesday. The Village Voice, one of the oldest and best-known alternative weeklies in the U.S., announced that it will no longer publish a print edition. Drew Angerer/Getty Images
One of those youthful memories that drifts up for me at various times is seeing a pile of issues of The Village Voice at a friend’s apartment. He liked going through them. Like me, he loved reading and writing. And, if you were serious about writing, you kept up with such publications on a regular basis. Before the internet, The Village Voice was one of those portals that gave you a taste of certain literary trends and urban happenings. It was fun to pore over the pages and even to simply handle this object made of paper, this symbolic series of messages from that bright big city, New York City, the epicenter of all things media and culture. If you aimed to be hip, wanted a ticket to the subculture, you read (and can still read!) The Village Voice. This publication means a lot of things to many people. For me, it was primarily a writer’s magazine. But no longer can you read new print issues, only digital moving forward.
Now, the end has come to that particular experience. The Village Voice has ceased its free print version, a staple of New York City life and urban life beyond. Well, the end occurred a long while back but this is the definitive end: absolutely no more paper copies! Is this really news? I’m not sure that it is as this transition from print to digital has been steadily going on for years. Just like typewriters and phone booths became extinct, so too will all print newspapers bite the dust.
For some steadfast followers of pop culture, they would like to claim some greater significance to the death of the print version of The Village Voice. To be sure, it does seem to be heart-breaking. But, let’s get a grip. All content moving forward is now digital and that’s great. Digital archives are a breeze compared to microfiche or, God forbid, musty old stacks of actual crumbling newsprint. There’s a reason that newspapers have always been printed on the cheapest paper imaginable. They were only meant to be read on the day, or week, they were published and subsequently used for practical purposes like wrapping fish.
Now, don’t get me wrong. I know there are plenty of nerds among us, and I count myself within this group, that can’t help but want to get all sentimental about such things as newspapers. Well, resist that urge. Unless you have more than ample space, say an attic, you don’t want to have a bunch of old copies of this or that newspaper or magazine providing little more than clutter. When was the last time you cracked open that classic issue of Life magazine? Never, right? It’s hard not to be a packrat.
Final print issue of The Village Voice
The practical concern over the shift from print to digital is about the various features in the print version surviving the transition. What about the columnists? And what about the cartoonists? Well, what about them? If a content provider is creating compelling content, then that content is going to find an audience, and it will survive the great transition.
For those of you who did not grow up with newspapers, you’re probably wondering what the big fuss is over. Newspapers, just like magazines, used to be far more powerful and influential. People took far more notice of them and relied upon them. Eyes lingered longer on the text, the photographs, the illustrations, and the comic strips! To this day, I have a memory of a distinctive caricature on the front page of The New York Observer. It was 1976, and I was a precocious tween. The cover featured Sen. Hubert Humphrey. It may have been an illustration by Levine. And the headline asked, “Will He Run?”
The bittersweet fact is that we’re saying goodbye to another link with history. Even as a kid, looking at the cover illustration of Humphrey, I knew that it reeked of the past. Humphrey’s image was being rehabilitated. This was before my time but I knew he was part of the Vietnam War, part of a past that we were steadily coming to terms with. Humphrey was part of the discredited past. Jimmy Carter was part of the future. Seeing that newspaper, holding it, reading it, I could tell there was something slow and quaint about this whole format, acting as much as a portal to the present as to the past.
Village Voice, April 10-16, 2013 issue
The bittersweet fact is that we are currently experiencing the long goodbye to all print publications. And they won’t go without a fight. For some oddball reason, the print version of Newsweek rose from the dead. It will finally die off soon enough. The publications that are least financially stable will drop out of the print game even sooner. The alt-weeklies, which many of us cherished in our youth, will concede to only being digital. For example, here in Seattle, both The Stranger and The Seattle Weekly already behave very much as digital entities with their weekly print versions mostly serving as a place to highlight the features that appeared on their respective websites that previous week.
Getting back to the features that used to have a secure home in print: the creators of observation pieces and comics should follow their heart as best they can if they can’t follow their wallet. Start a blog. In the age of newspapers, you had to tap dance, beg, and plead to join the party. Those days are over! To all you heavy sentimentalists, don’t forget, we are well into a new century. Dry off those tears. The Village Voice is still alive in the format for a new age. The print version was your dad’s Village Voice. Sorry, but we can only move forward.
One last thing, be sure to actually read, and support, The Village Voice. Just because it’s digital doesn’t mean it can only survive on sentiment. Visit and support The Village Voice right here.