“Our long national nightmare is over,” Gerald Ford’s most famous line, opened the last broadcast for David Letterman. This was then followed by a clip with almost every living U.S. president uttering those famous words. I’m sure Jimmy Carter would have joined in if he thought it was really necessary.
I am in the same boat with Jimmy Kimmel and his admiration for Dave. He asked his viewers not to watch his show on May 20th and, instead, to go see Dave’s last show. I start to think about all the good oddball times watching Dave and it stirs up emotions for me too. I’m from the same generation as Kimmel and I understand. That David Letterman sense of humor. Honed to perfection over the years. Dave made it look easy. That’s the same that was said of Johnny Carson.
Both Carson and Letterman provided a reserved kinetic energy that was perfect for the times. It’s hard to speak in the past tense regarding Dave and his work.
Even with all that’s been said and everything leading up to this last broadcast, it sort of caught me by surprise. Life happens. I had meant to watch the last couple of nights. I’d lost track. And then, there I am watching Dave’s last show. Well, he took it like a champ. No need to get misty-eyed or choke up. He’d planned ahead, paced himself. But the last show is the last show. He rolled a great montage of highlights from over the years. What showed through was a decent hard-working and humble guy.
The shows from the ’80s are legendary. The offbeat humor from those years has been dissected many times over. As one decade rolled into another, Dave continued to grow. The show’s humor calibrated itself by a hair or two like any other humor format. And Dave kept getting more real, more relaxed. They say it’s the end of an era and it’s true. David Letterman is one of those figures you have on a Mount Rushmore of Comedy. But his brand of humor lives on. He was one of the greats at being very serious about not taking things too seriously.
First, you need to know how cool this book is. Imagine your favorite late night college radio show. And the deejay is Jason V Brock, the author of this book, “Disorders of Magnitude.” You rely upon Jason to provide insights and intriguing facts as he connects the dots. Good, so far? Well, it gets even better. We’re talking about a multitude of connections, some from on high and some from on low. It’s not easy to categorize it all but Brock manages to collect a lot of essential wisdom and in a very accessible presentation. The college radio analogy is fitting since “Disorders of Magnitude” falls under an academic book category. It is right at home as part of a college course. But it is also the perfect companion for anyone interested in a deeper understanding of where we are today in terms of the entertainment we consume, particularly dark fantasy.
Divided into six parts, with a wide scope of offerings within, the intent is to give order to what might seem at first, like an ooey gooey disorder. How do you reconcile great literature alongside B-movies? In fact, there’s a certain frenetic energy running throughout as Brock maintains a sense of urgency to his prose. And, of course, the numerous chapters here invite picking subjects at random to dive into, with each concise chapter running a few pages. One excellent point of entry is Chapter 14 in Part Three which discusses the formation and evolution of The Group, the science fiction writers in Los Angeles during the ’50s and ’60s that would go on to create work in novels, film, and television, including the iconic and culturally significant, “The Twilight Zone,” television series. This one article alone proves to be an exemplary example of the book as a whole as it navigates through various eras and aspects of culture and entertainment.
“In the beginning is the dream,” states Brock in reference to The Group. They begin, like any band of pioneers, with “the crazy notion that they are somehow different–that they can leave a permanent mark on society, make a difference in the world.” It is this bravado and deep yearning that sustains men like Charles Beaumont, Richard Matheson, William F. Nolan, George Clayton Johnson, and many others. They look up to two men who lead the way: Ray Bradbury, who is already established; and the firebrand Charles Beaumont destined upon his own unique path. And we keep coming back to The Group as Brock revels in chronicling their lives and provides here many interviews with the key figures on the scene.
Heading back from whence we came, Brock sets the stage with the opening article. “Frankenstein” was published anonymously in 1818 and, with that, the monster of horror and science fiction was unequivocally unleashed. Brock is great with setting up a mood to a time and place. He describes in detail the utterly strange weather conditions that, in no small way, gave rise to “Frankenstein” and other melancholic and moody art and writing. This all came about from a volcano in Indonesia. Its eruption in 1815, the largest ever witnessed in recorded human history, sent plumes of volcanic ash into the skies above around the globe for over a year forever altering life, and artistic sensibility, down below.
We steadily move to another chapter and other great writers in the gothic tradition: Poe, Stevenson, Stoker. Then we jump to another chapter and the next wave exemplified by H.P. Lovecraft and his evocation of the “fear of the unknown.” And after that, we take a significant turn with a chapter devoted to Forrest J Ackerman (1916-2008). Like the activities of The Group, Ackerman figures heavily in Brock’s studies of pop culture. And it only stands to reason given Ackerman’s pivotal role in the scheme of things that, you must keep in mind, touches upon virtually every aspect of pop culture as we know it today: movies, games, television, comics, music, novels, the internet, and our own precious sensibilities.
Ackerman is, indeed, another circle of influence too large to hold in just one chapter and he, like other persons and movements, overlaps into other chapters. Ackerman did quite a lot in his day, including work as a literary agent to some of the greatest writers in science fiction. Taking it all into a whole, you can say that his main achievement was to assign value to, archive, and make accessible the very things so many held dear: the horror movies of childhood; the dazzling science fiction of yesteryear; the growing world of fandom as we’ve come to know it today. It was Ackerman’s comprehensive and energetic role in legitimizing a myriad of elements that contributed to a more egalitarian view on culture in general.
In a very real sense, Brock has taken on the mantle of Forry Ackerman. It is that heartfelt dedication to the things he loves that you will find in this collection of his writings.
“Disorders of Magnitude” is a 336-page hardcover, priced at $80.00, and published by Rowman & Littlefield. You find it here, here, and here. Visit Jason V Brock here.
You step into the world of The Legend of Korra and you enter into something stellar. This is a monumental work in animation. Nickelodeon has done itself proud. I am sure that this is going to strike a chord with anyone who enjoys a vast and epic adventure. This fourth season, “The Legend of Korra – Book Four: Balance,” brings everything to a conclusion and it is available on Blu-ray and DVD as of March 10, 2015.
Where to begin? Well, for fans and newcomers alike, this last collection works so well that it stands on its own. Each episode rings true as we follow the celebrated Avatar on her path of self-discovery. Korra has come out of the fight badly wounded and she must find the strength to recover, and even to forgive. She’s on her own, alone and a little lost. Meanwhile, plenty takes place in her absence. Left to her own devices, Kuvira has exploited an opportunity to seize power and she has the Earth Kingdom in her sights.
The Legend of Korra collectible poster inside DVD/Blu-ray for Book Four: Balance
Getting to hear some of the creative team on the commentary, including co-creators Michael Dante DiMartino and Bryan Konietzko, you get a sense of the hard work involved in bringing The Legend of Korra to life. It’s a team effort all the way. And it’s a very thoughtful effort. Going through all 13 episodes, there isn’t a missed beat or anything I’d want to see taken out. It’s quality throughout from the musical score to special effects to, of course, the voice talent. Did you know that the stellar roster includes Academy Award winning actor J.K. Simmons? Yes, he plays a pivotal role as Tenzin. Well, this is one of those shows you’ll love being immersed in.
It’s a panoramic stage filled with a variety of vital characters. There’s a great balance of personal struggles mixed with intrigue, humor, and action. For instance, Prince Wu, our hapless monarch, and Kuvira, our devilish villain don’t mix very well to often humorous effect. And, Korra’s journey proves to be filled with lots of twists and turns. It’s about finding one’s way. Given time, she will come closer to seeing who she really is.
The Legend of Korra is a wonderful opportunity for a writer to say a lot about life and what it takes to do great things. You can view this on many levels. Ultimately, this is a crowning achievement for Nickelodeon. You’ll want to get your copy now. You can start with this last collection and work your way back. As I say, the stories stand alone, down to each episode, beautifully. For more details, visit our friends at Nickelodeon right here. You can also buy “The Legend of Korra – Book Four: Balance” from Amazon right here.
We live our lives and we’re not always aware of our achievements, our moments in the sun, that define us. For Leonard Nimoy, he was all too well aware of his legacy. His autobiography famously declared, “I Am Not Spock,” only to be followed years later with, “I Am Spock.” We all knew, all along, that he was Spock. This was not some burden. It simply was what it was. Pretty logical, and befitting a great actor and decent human being.
We will all miss Leonard Nimoy no longer among us. But we have his work to still enjoy. There’s that magical episode of Star Trek, “Amok Time,” written by Theodore Sturgeon, where Spock first says that famous line, along with the first time we see the Vulcan salute, “Live Long and Prosper.” He would wish that for you.
This week we will consider Laurence King Publishing’s exciting new artist series in a graphic novel format. We begin with “This is Warhol.” We will continue with Jackson Pollock, Francis Bacon, Salvador Dali, and end the week with Paul Gauguin. How often have you started the week with Andy Warhol and ended the week with Paul Gauguin? Well, you lucky duck, this is your week. These are all iconoclasts and each of their work continues to reverberate. Among this group, we feel closest to Warhol, despite the fact he was personally quite distant. We think we know him. But, as this book clearly demonstrates, there is much more than meets the casual observer.
Catherine Ingram writes with great enthusiasm and confidence in her subject. She weaves a compelling narrative in such a concise manner, never wasting a word. As she’s describing Warhol’s childhood, she is deftly planting seeds that link us to the vision of the leading figure of Pop Art. Andy, the child, is gazing upon his neighborhood church’s icons. As a Catholic, the icons are powerful figures for Warhol. As an adult, he will take that same level of emotional attachment to his depictions of Campbell’s soup cans and Hollywood stars. But weren’t these repeated images from pop culture simply statements about an empty and shallow society? No, Ingram makes a case for much more being said.
William F. Nolan and George Clayton Johnson. Art: Henry Chamberlain
William F. Nolan is a writer with a brilliant career. Stephen King has acknowledged Mr. Nolan as “an expert in the art and science of scaring the hell out of people,” and Ray Bradbury has spoken of Mr. Nolan’s ability “to create an atmosphere of ultimate terror.” Crafting an interview with him can take a variety of directions. You could focus on race car driving, movies, television, horror, or science fiction. I chose to talk about genre fiction, specifically the pulp era, as Mr. Nolan is an authority on that subject. And, of course, we made our way to the biggest title that Mr. Nolan is attached to, Logan’s Run. He co-wrote, with George Clayton Johnson, the original novel and has gone on to write further Logan’s Run novels as well as the pilot episode to the television series.
Imagine yourself a young person with big plans to embark on a career in writing. It’s the 1950s. You’ve made it out to Los Angeles. You grew up reading pulp fiction. You adore it. Max Brand Westerns are the best! But you also love hard-boiled detective stories. Who better than Dashiell Hammett to deliver on that score, right? And then there’s science fiction. If only you might meet up with your hero, Ray Bradbury. Wouldn’t that be the tops? Sure enough, you meet Ray Bradbury. Not only that, Mr. Bradbury takes you under his wing and helps set your writing career on a high-flying course. That would be your first published story, “The Joy of Living”, in If magazine in 1954. Welcome to the life of William F. Nolan.
We focus on three major writers and, in turn, see how Nolan learned from them, adopted their techniques and tenacity, to become a professional writer in his own right. We talk about Ray Bradbury and his penchant to pay it forward with other writers. “We all support each other,” Nolan says. We talk about Frederick Faust, known as “Max Brand,” among other pseudonyms, and his uneasy relationship with fame. As for Faust’s all-time famous title, “Destry Rides Again,” it paled in comparison to his devotion to writing poetry, which never sold. It’s a similar case with Dashiell Hammett. Despite his wildly popular “Thin Man” stories, he wasn’t satisfied and had hoped to develop writing beyond his genre, but never did. Oddly enough, despite any reservations from Faust or Hammett, all three of these writers are held in high regard. But only Bradbury was to live to see and appreciate his place in fiction as well as his notoriety.
It’s a perplexing predicament to be, or aspire to be, a writer. “The problem is that most students of writing are lazy,” Nolan points out. “They want to become Stephen King over the weekend. Well, you can’t become Stephen King over the weekend. Stephen King couldn’t do that. People have some idea that he’s always had it easy and been rich. But, no, he spent ten years writing and struggling before ‘Carrie’ came along and made him a tidy sum of money.” And far be it for a writer to always be the best judge of his own work. As the story goes, King threw away the manuscript to “Carrie” in a fit of frustration. He tossed it into a waste basket only to have his wife fish it out and persuade him to send it to his agent. Good thing he did just that.
“Writing is like a roller coaster,” Nolan says. But he is also inspired to share the fact that hard work will pay off. What best illustrates this is just talking shop with him. For example, you get great insight exploring the work that Nolan has done with George Clayton Johnson. Among the dozen or so writers that Nolan has worked with, it is with Johnson that he wrote his first teleplay and, years later, his first novel. It was to be firsts for both of them. In 1959, Nolan and Johnson wrote their first teleplay, “Dreamflight,” for “The Twilight Zone.” It was never produced. Thanks to the jet age, the show found itself with one too many airplane-related stories. It’s since been printed in the anthology, “Forgotten Gems.” And it is a gem, a modern day take on Sleeping Beauty.
In the intervening years, Nolan and Johnson would continue to grow as writers, in no small measure due to the collaborative process they developed as part of what became known as The Southern California Writers Group. And so they did work together again, including two unproduced “Star Trek” teleplays, finally leading up to one of the best collaborations ever, the original “Logan’s Run” novel.
As we closed out our interview, I asked about upcoming projects and William F. Nolan is, at 87 this March, as busy as ever. On his list of top priority items, he included his longtime friend and collaborator, writer/artist/filmmaker Jason V. Brock, who is set to work with Nolan on a new Logan’s Run novel that will deconstruct what has come before and is entitled, “Logan’s Fall.” Also on the list: “Images in Black,” an edited collection of Ray Bradbury stories with an African-American theme; “A Man Called Dash,” a definitive biography of Dashiell Hammett; “Soul Trips,” a collection of Nolan poetry; and a Nolan horror collection for the series, “Masters of the Weird Tale,” to be published by Centipede Press.
Just click below to listen to the podcast interview. Enjoy:
Who knew, Pee-wee Herman is a man of many talents, including blogger. “My Log by Pee-wee Herman,” has got it all. It is zesty, peppy, and consistently run. What more could you ask for, right? For example, Pee-wee Herman recently shared this story with his readers about giant birdnest loungers. That’s a perfect blend of wit, pop culture news, and birdy fun! And now you can video chat with him and it’s free!
Pee-wee Herman. I think we all love him. I do. And I think it’s pretty awesome to see that he’s more than happy to interact with his fans. He’s gearing up to Skype with you! The next video chat is on January 21, 2015! For now, get ready, get set, and join the Pee-wee Herman VIP Premium Diamond Platinum Club. It’s only one million dollars to join. No, just kidding! It’s free, totally free!! Check out the details right here.
A really interesting thing is going on right under many folks’ noses. Whatever your views on marijuana, it is undeniable that history is being made as a huge shift is gaining momentum. The notion that someday marijuana will be on par with alcohol in the marketplace is working its way into reality. Just consider Dockside Cannabis, a very attractive and professional new retail store for recreational marijuana. Located in Shoreline, a suburban area north of Seattle, the store had its grand opening on December 6, 2014, with a whole new way of doing business and bringing about a whole new way of seeing marijuana as something as familiar and relaxing as a glass of wine at the end of the day.
Here at Comic Grinder HQ, we’re constantly looking for cool stuff to share with you. I had just made a fresh batch of hot cocoa and was gearing up for the day when Roy burst into the office with the latest mail bag, which happened to be bursting too, at the seams, no less. “You better step it up, we have a motherload of packages and parcels. Best you get to reviewing straightaway!” And so I did. I picked up the first box and, lo and behold, it was from Nerd Block. I have heard many good things about them and I went right into taking stock of the box’s contents in the video below:
Nerd Block makes a great gift for anyone. If you enjoy pop culture, then Nerd Block has got something for you. Nerd Block is a monthly mystery package delivered right to your door filled with nerdy apparel, toys, and collectables! Every Nerd Block comes with a custom t-shirt (in your size) and 4-6 epic items. There are different themes to choose from. You can stop your subscription at any time. Packages range in price from $13.99 to $19.99. Visit our friends at Nerd Block right here.
Don Martin. We know his uniquely surreal and eccentric cartoons from MAD Magazine. Who better to shed light on Don Martin, and the world of MAD, than longtime MAD editors Nick Meglin and John Ficarra. Mr. Meglin goes back to the early years of MAD. He retired in 2004 but remains a contributing editor. Mr. Ficarra was brought on board by Mr. Meglin and the two worked together for many years. Both men are quick with a joke and just a pleasure to talk to. The subject for this interview is the uproariously funny work of Don Martin and “MAD’s Greatest Artists: Don Martin: Three Decades of His Greatest Works,” a 272-page hardcover published by Running Press and available as of November 11.
