Tag Archives: Gay

Interview with Artist Henry Hate

Let’s Riot by Henry Hate

This is a perfect time to post my interview with artist Henry Hate. There have been a number of delays along the way but, perhaps some experiences need to stew and process. It was near October of last year that I visited the Prick! tattoo shop, a home base for Henry Hate in the Shoreditch neighborhood of London. Autumn was creeping in on the streets that Jack the Ripper once lurked; now made up of boutiques and fine eateries co-existing with taverns and other mysterious structures dating back centuries. Prick! tattoo parlor fit right in.

Amy Winehouse by Henry Hate

Just as Henry Hate was rising in prominence as a tattoo artist, Amy Winehouse, early in her career, walked into Henry’s tattoo parlor and became a regular client. Well, that’s the stuff of legend. It was that sort of serendipity that can lift an artist’s life and launch them on a path to a bright future.

Trouble by Henry Hate

Henry Hate, without question, has developed into an excellent artist. That’s not the issue. I love how we both get to the heart of the matter in the video segment of our conversation. For me, I’ve always aspired to great creative heights and that’s usually some mix of journalism and art. When the opportunity arises, I want to go deep with an interview. There is absolutely an art to a good interview. It is sort of like a dance or a courtship. You need to engage the subject. A dynamic emerges. Everything going on behind the scenes culminates. In this case, I was pairing us as both artists and human beings on a journey. The result was Henry Hate speaking to a lifetime commitment to art. It’s as if being an artist is not enough. You can accept yourself but will others follow? That will remain in the background but, first and foremost, you need to give yourself over to your art.

A Work Created Under Extreme Duress by Henry Hate

Into each life, a little death must enter and a lot of self-discovery. As a youth, Henry Hate discovered, despite his family’s resistance, that he was gay and he had no one to apologize to about it.

Prick tattoo parlor.

Henry Martinez evolved into Henry Hate. Sure, the name is part illusion, facade, and brand. It is part of what you do, even if you never really change your name. You need to build up some armor when you go from art to business. “It’s a machine. Success. You’ve achieved a goal. Okay, now what? Sometimes, I wonder if it wouldn’t be easier to just paint pretty clouds.”

Prick! tattoo shop, East London.

“In Los Angeles, when you say you’re a writer, you’re probably a waiter. But, here in London, someone says they’re a painter or a screenwriter, they are actually doing that,” said Hate, at one point, as we chatted about the realities of fame and fortune. Our talk turned to Amy Winehouse and how she dealt with stardom. “Amy was this London girl who suddenly had to deal with fame. It’s a machine. Success is a goal. Now, you have to keep the wheels moving. It’s a lot of pressure to put on someone when art becomes a business. It’s work now, not a love or a passion.”

“Lee McQueen and Amy both had that genuine quality about them, a shyness, unsure about their work. When you stand up and present your work, you need to wear that mask. Both of them had that vulnerability. Great artists, you don’t really know that much about them. Amy would have been happy just singing in a bar and have that pay her bills.”

Mother’s Tongue, mixed media on canvas, by Henry Hate

Informed as much by Tom of Finland as by Andy Warhol, the work of Henry Hate has charted its own path. It is bold, audacious, sly and thoughtful. It is worldly and fanciful. And, without a doubt, it is genuine.

This is work that proudly stands before you, naked or wearing a mask with sexy panache. It’s about art and it’s about life, living large while also maybe on the margins. Maybe there’s still something to prove. Or maybe it’s just time to face the world without flinching. I love the sense of play, like “Let’s Riot,” a punk young Queen Elizabeth echoing Jamie Reid’s art for the Sex Pistols 1977 single, “God Save the Queen.” Or the life-affirming “Mother’s Tongue,” with the subject defiantly showing off her stud.

As Hate says, his work is about sin and redemption. You see each character reveling and unapologetic. Why can’t a little more life fall into one’s life? Why can’t vice and salvation find a way to co-exist? These are questions that can take a lifetime to confront, let alone answer–and Henry Hate is up to the task.

Find Henry Hate at henryhatefineart.com.

Madonna Mouse, excerpt, by Henry Hate

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Review: DRAGMAN by Steven Appleby

Dragman by Steven Appleby

Dragman by Steven Appleby. Metropolitan Books, Henry Holt and Company, New York, 2020. 336 pages, $28.00.

Especially today, as we continue to make huge strides, while still sometimes stumbling one step forward with one step back, it is healthy for everyone to acknowledge gender fluidity as being as natural as breathing. I’ll share this. When I was very young, I fondly recall dressing in drag a handful of times. This was back in the ’80s during my art school days. It was fun, thrilling, and even liberating. My girlfriend at the time thought I looked cuter in lipstick and pumps than she did. Anyway, life moved on and the occasion for indulging in drag became less available but one never knows. I’ve always fancied interviewing Simon Hanselmann with both of us all dolled up. We all need to loosen up, open up, and acknowledge nothing is ever really totally cut and dry. Even a conservative darling like Rudy Giuliani had a good time in drag, and this was as recently as 2000. So, with that in mind, it’s a joy and a privilege to introduce to you a new graphic novel inspired by cartoonist Steven Appleby’s own personal journey, Dragman, a story about a superhero who can fly when he wears women’s clothes.

Dragman on the case!

Now, Steven Appleby is a beloved British cartoonist, right up there with other greats like Posy Simmonds and Quentin Blake. I had quite a nice time, by the way, viewing the work of Simmonds and Blake last year at the House of Illustration in London. I’m an artist-cartoonist myself so that visit, for me, is equal to visiting Big Ben for someone else. I’d love to view Appleby originals sometime too, perhaps on a future visit. I’m not going to scrutinize the work in quite the same way as I would standing before a Rembrandt but it’s not too different either. I’m still gazing and pondering the energy. It’s that distinctive line, with its skittering quality, that is so appealing. In the case of Appleby, a cartoonist auteur, we can marvel over how the words seem to dance right along with the images. If Appleby collaborated with a writer, to be sure, we’d see a similar play too. That said, the auteur has a distinct advantage of owning the whole vision. So, for Appley, for all of us, this graphic novel provides a full-blown vision. The reader gets to enjoy a madcap adventure, all the time savoring the journey for its own sake!

Clark Kent, meet August Crimp.

As Appleby makes clear, this is not an autobiographical work, although it can’t be denied there are some similarities to Appleby and his comics alter ego, August Crimp. Both went on a particular journey in search of themselves, in pursuit of coming to terms with an attraction to dressing up as the opposite sex. What’s clear is that August Crimp, and Steven Appleby, both triumph. It’s a celebration of life. A celebration of boys dressing as girls and girls dressing as boys and anything else in between. We’re all superheroes if we just relax and let ourselves be ourselves. Dragman is a heart-felt exploration of identity while also a riveting crime mystery to boot. What more could you want from a graphic novel?

Dragman is available as of April 7, 2020. For more details, visit the family of books at Macmillan Publishers right here.

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Book Review: SENSE OF WONDER: MY LIFE IN COMIC FANDOM – THE WHOLE STORY by Bill Schelly

Sense of Wonder by Bill Schelly

What has a superhero ever really done for you? That’s a tricky question. It depends upon who you ask. First, superheroes aren’t real and are owned by corporations, at least all of the household names. It’s a cold-blooded business when you look at it from the perspective of co-creators who were not given credit or a fair share of the profits, like Jack Kirby or Steve Ditko or Jerry Siegel & Joe Shuster. Comic books are a mass entertainment focused on profit, right? And then there’s the perspective of thoughtful and dedicated fans, the ones who take it to heart, who even write and draw in tribute to beloved characters. Bill Schelly is among that group of fans who know, despite any ugly realities, how to harness the super powers of the likes of Superman and Spider-Man. If you believe enough, especially in yourself, all sorts of dreams can come true. Bill Schelly set out to be an author, a “writer of books,” and buoyed up by the power of fandom, achieved his wildest dreams, including a respectable fanzine while still a youth, A Sense of Wonder, all the way to a memoir of the same name that has recently been expanded, A Sense of Wonder: My Life in Comic Fandom – The Whole Story, published by North Atlantic Books. It is like the most compelling of pop culture scrapbooks come to life.

Do people still even keep scrapbooks? Thankfully, some do. Yes, even digital files count. There will always be those who are compelled to document, dig deeper, and pay it forward. In the case of Bill Schelly, it all began with a fateful train ride. The Schelly family was on a trip to visit relatives back in 1960. To help keep nine-year-old Bill preoccupied on the long ride ahead, his father bought him a comic book. But it wasn’t just any comic book. His two brothers chose regular issues of ten cents each. Bill was excited about a special issue, Giant Superman Annual #1 with its enticing cover promising numerous thrills. It cost a whole quarter. At first, his father balked but ultimately relented. Schelly’s recollection of this scene is quite moving. He goes on to describe a boy besotted by all the larger-than-life stories found in the brightly colored pages. This is the pivotal moment that set young Bill on a lifelong journey. He already knew that he wanted to be a “writer of books” and, only a few years later, he would discover his ability to draw. What really set Schelly apart was a specific interest to better understand the underpinnings of comics. As much as Schelly wanted to become just like the comic book creators he so admired, he was driven by an intellectual need to know and a compelling desire to share his findings with other enthusiasts. This led to a number of boyhood fanzines, home-made magazines with a focus on a fan’s passion. And the best iteration of this process was a fanzine he called, Sense of Wonder. He became a teenage editor and publisher with subscribers all across the country. Young Bill confidently knew that he had set the stage for big things ahead but had no clue as to what exactly he would achieve or how he would get there.

Giant Superman Annual #1

Over the years, Schelly pushed himself to evolve as a writer and, in turn, as a person. As he had done with his boyhood fanzines, he learned from his mistakes and was driven to improve. While he honored the egalitarian spirit of fandom where every fan was an equal, he also wanted to lead the way and make his distinctive mark. As he had discovered early on in life, fandom is a close-knit network of like-minded souls and, in general, fans support fans. You never knew which friend you made today might lend a hand in some unexpected way in the future. It was through the world of fandom that Schelly found his way. And it is around the age of 21 that the first version of Schelly’s book, A Sense of Wonder, ends. This new version picks up from there and unveils what lay ahead. For one thing, the reader learns how the Sense of Wonder book evolved and how it was a building block towards other books. It’s surprising, with hindsight, to discover that Schelly did not reveal being gay in the first version of his coming-of-age book. In fact, he had given Howard Cruse, one of the most notable gay cartoonists, an advance copy in hopes of getting a back cover blurb. Cruse expressed regret that Schelly wasn’t ready to come out but was more than happy to provide a blurb. It was in a later version of Sense of Wonder, when Schelly was ready, that he added some of his best writing on growing up gay. And it is this latest version that beautifully brings it all together: Schelly’s dreams, his passions, the arc of a life. In the book, the reader follows Schelly as he relentlessly strives to create his magnum opus. As a young man, he hitches his wagon to the star of silent movie comedian Harry Langdon and creates his first attempt at a biography. Later on, he tackles the life of legendary cartoonist Joe Kubert. Finally, he achieves mainstream success with quite a substantial biography of another pop culture legend, Harvey Kurtzman. But, when it is all said and done and there’s finally time to take a breath and look back, Bill Schelly’s memoir is what rises to the top, a book that shares the trials and tribulations of a man who just wanted to dream and be a “writer of books.”

Bill Schelly (1951-2019)

Sense of Wonder: My Life in Comic Fandom – The Whole Story is a 392-page trade paperback published by North Atlantic Books.

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Howard Cruse (1944 – 2019)

Howard Cruse

Howard Cruse, a pioneer in the LGBTQ cartooning movement and the author of Stuck Rubber Baby, an award-winning graphic novel about the intersection of race and sexuality in the South, died on Tuesday, November 26. He was 75. Howard was one of those essential artists who contributed work that touched, saved and transformed many lives. Thanks to his groundbreaking work as the founding editor of Gay Comix, which began in 1980, Howard Cruse was instrumental in getting underground comics — and later mainstream comics — to address LGBTQ issues. Take a look at the video below for a panel discussion with all the editors of Gay Comix:

A very informative obituary, compiled by Richard Goldstein and Jay Blotcher, follows, along with selected related images.

Stuck Rubber Baby, 25th anniversary edition, published by First Second Books

Pioneering Gay Cartoonist Howard Cruse Dies at 75

(WILLIAMSTOWN, MASS., Nov. 26) — Howard Cruse, a pioneer in the LGBTQ cartooning movement and the author of Stuck Rubber Baby, an award-winning graphic novel about the intersection of race and sexuality in the South, died on Tuesday, November 26. He was 75.

His husband of 40 years, Ed Sedarbaum, said that Cruse succumbed to complications from lymphoma at Berkshire Medical Center in Pittsfield, MA. Cruse, who lived in Williamstown, Ma., had been diagnosed in August.

Cruse’s masterwork, the bold graphic novel Stuck Rubber Baby, was published in 1995. It was based on Cruse’s interior struggles as a closeted gay man during the civil rights era of the 1960s. Widely translated, Stuck Rubber Baby has won numerous awards, including a critics prize at the Angoulême International Comics in France, the Harvey Award, Eisner Award and United Kingdom Comic Art Award for Best Graphic Album.

Stuck Rubber Baby will be reissued in a 25th anniversary edition by First Second Books in May 2020.

Howard Russell Cruse was born May 2, 1944 in Birmingham, Alabama, as the younger of two sons born to Clyde and Irma Cruse. The family moved to Springville when his father, a photojournalist, was ordained as a Methodist minister and assigned to Springville Methodist Church. Cruse’s creative talents were encouraged by both his parents. His first published work was a 1959 comic strip called “Calvin” in the St. Clair County Reporter. Young Cruse also had cartoon art published in the humor magazines Fooey and Sick. He was mentored through an ongoing correspondence with famed cartoonist Milton Caniff, the creator of “Terry and the Pirates” and “Steve Canyon” newspaper comic strips. At age 16, Cruse was invited to visit Caniff in New York City.

Howard meets Milton Caniff in 1961 at Sardi’s in New York City

At Birmingham Southern College, Cruse became involved in the theatre program, designing sets and appearing In several productions. He wrote and directed his own play during his senior year. For the college literary magazine, Quad, Cruse satirized the conservative organization the John Birch Society. The controversial work appeared in print, but the faculty advisor insisted on running a full-page disclaimer.

After graduating from BSC in 1968, Cruse joined Birmingham’s WBMG-TV as art director and a puppeteer on “The Sergeant Jack Show.” He became romantically involved with a man, Don Higdon, for the first time. During this time, Cruse created “Tops & Button,” a cartoon panel about two squirrels, which ran daily in The Birmingham Post-Herald from 1970 to 1972. He also created the subtly subversive “Barefootz,” which debuted in the University of Alabama’s newspaper Crimson White. “Barefootz” would appear in several Birmingham-area publications during the decade, and later in underground comic books. In 1977 Cruse relocated to New York City to make cartooning his full-time profession. In 1979, he met Eddie Sedarbaum and they moved in together. The couple was married in 2004. Cruse’s career reached a personal and professional breakthrough in 1980 when he was founding editor of Gay Comix, an underground anthology for lesbian and gay cartoonists. Cruse’s own work, exploring his conflicted childhood and repressive Southern upbringing, appeared in these comic books.

Wendel comic strip

In an era before the formal passage of LGBT rights, these frank cartoon explorations of gay culture, politics, sex, and camp had a huge influence on young people in the closet. During the four years of his editorship, Cruse received letters of gratitude from readers all over the country, many who had considered suicide. During this period, Cruse did many pro bono illustrations to support fledgling LGBT organizations, as well as mentoring of young queer cartoonists. Cruse created a high-profile poster about gay male safe sex practices in 1985 for New York City’s Gay Men’s Health Crisis.

Cruse’s profile as a cartoonist grew with the debut of “Wendel,” a comic strip about a gay everyman, his lover, friends and family. It appeared in the national newsmagazine The Advocate from 1983 to 1989. He also contributed frequently to The Village Voice. Cruse and Sedarbaum became active in LGBT and AIDS grass-roots politics, joining the direct-action organizations ACT UP and Queer Nation. Cruse and Sedarbaum left New York City in 2003 and moved to Western Massachusetts, settling first in North Adams and then Williamstown.

Stonewall illustration for The Village Voice, circa early 1980s.

Cruse frequently appeared at comic book conventions over the decades, and was the guest of honor at academic and fan conferences, especially those addressing the subject of queer comic art. His final published comic work appeared this year in Northwest Press’s horror anthology “Theater of Terror: Revenge of the Queers.” Cruse was among LGBT cartoonists and illustrators appearing in the documentary “No Straight Lines,” scheduled for a 2020 release.

Stuck Rubber Baby

Cruse’s work has been collected in several books, among them, Barefootz Funnies (Kitchen Sink, 1975-79), Wendel (Gay Presses of New York, 1986), Dancin’ Nekkid with the Angels (St, Martin’s, Kitchen Sink, 1987) and Wendel on the Rebound (St. Martin’s Press, 1989).

In addition to his husband Ed Sedarbaum, Cruse is survived by his daughter, Kimberly Kolze Venter, and his brother, Allan Cruse.

Donations in his memory can be made to New York City’s LGBT Community Center, the Queers & Comics Conference, and Rainbow Seniors of Berkshire County.

Memorial services, open to the public, will be held in Berkshire County, Massachusetts, and New York City in the near future. Exact information will be posted on howardcruse.com/

  • Obituary compiled by Richard Goldstein and Jay Blotcher

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Book Review: ADAM by Ariel Schrag

ADAM by Ariel Schrag

I’ve recently been taking a look at some work by artist/writer Ariel Schrag. I’m becoming more familiar with her comics and I decided to read her prose novel, Adam. While reading it, I also became aware of the controversy surrounding this novel which will debut in 2019 at Sundance. I’d just gotten a quarter of the way into the novel and wondered just where these snarky kids were heading. The book depicted the author’s take on callow youth and gay culture and so I pressed on. I do understand why some people will find the book problematic. Still, it’s useful to stick with it to the end to study one writer’s process.

I’ll cut to the chase and say that Ms. Schrag’s book aims to be in the tradition of provocative novels. The characters do and say a number of nasty and questionable things and then there are also moments when Schrag dials down the snark. Here is an example, a scene that finds the main characters at a predominantly transgender gathering:

“Clarification on gender was indeed necessary. Looking around at the group, it was as if a hatful of pronouns written on scraps of paper had been thrown into the air, each group, sometimes two, landing randomly on a person, regardless of what he or she looked like. Adam had gotten used to boyish girls turning out to be trans, the general rule that masculine = he and feminine = she, but here at Camp Trans it was a free-for-all. You couldn’t be sure of anything, except that you were most likely wrong.”

So, yeah, the book has a cocky snarky vibe, an attempt to channel the great Holden Caulfield tradition of snark. It’s when an ambitious young writer feels compelled to be provocative that things will heat up for sure. The big controversy revolves around the premise of the main character, Adam, a 17-year-old straight man becoming involved with Gillian, a 22-year-old gay woman, by both lying about his age and, far more significantly, lying that he’s a female-to-male trans person. That premise is rubbing a lot of people the wrong way. You have people in the trans community saying the book is exploitive. You have the author saying the book is meant to open up a discussion. Ms. Schrag has gained notoriety over the years for her memoir comics. She is an openly gay woman who has focused on young adult themes. She has written for television, including writing for Showtime’s The L Word.

The big point of contention against this novel comes down to the idea that the main character, Adam, is essentially getting away with rape as he’s in a sexual relationship through deception. For most of the novel, Adam isn’t getting away with much as he’s depicted as being fairly creepy. Towards the end that changes when Schrag drives her novel over a cliff with an abrupt shift. Adam begins his journey as a stand-in for just an average guy, yet another typical banal young person, while Schrag steadily turns up the heat. He easily falls into fantasy. He’s so selfish that, despite all the warning signs, he continues to deceive his lover in the hopes that his fantasy will come true and she will ultimately overlook his gross betrayal.

Looking at this from a creative point of view, it is very interesting to see a cartoonist like Schrag developing into a full-on prose writer. Any number of cartoonists find themselves juggling/struggling with two distinct disciplines (writing and drawing) that are supposed to meld into one (comics). Well, the comics-making process is a whole world onto itself with many potential variations, detours and pitfalls. It’s a delicate balancing act. And, if a creator favors writing a little more than drawing, that can tip the balance. For Ms. Schrag, it seems that more often than not, when she puts pen to paper, it is only words she seeks. Deep into making a novel all out of words, those words can take on a life of their own a little more easily than within the framework of a well planned out graphic novel with storyboards and various anchors. You choose your words that much more carefully when you create a graphic novel in comparison to commanding a ship of words in a novel. You set sail for vast ports unknown. You can lose yourself in your discourse and take your mighty vessel way off course.

You get away with less in comics. You can be instantly held accountable. Stuff can get buried in a prose novel. All those words! Ms. Schrag can engage in some anti-Semitic rhetoric and no one will call her on it since the focus is on her depiction of the trans community. Around the middle of the novel, Schrag builds up to what she deems a joke involving her inept and money-grubbing Jewish landlords. Analyzed as a joke, the mechanics and execution fall flat. It’s inappropriate and serves no purpose other than to underscore the fact that the characters are prone to being intolerant and hurtful and that has already been well established. It’s a joke that would make the legendary cartoonist provocateur Robert Crumb blush mostly because it’s so not funny. You just can’t get away with stuff like that in comics. In contrast to this novel, Ms. Schrag’s recent collection of comics, Part of It, indicates a more restrained, and even polite, approach.

Ms. Schrag has said about all the controversy attached to this novel: “People are really angry specifically about appropriating an oppressed identity. I just think that’s fascinating to think about because what is so terrible about appropriating an oppressed identity?” That’s a gutsy remark with consequences attached to it. Writers can choose to provoke but then it’s fair game to listen carefully to the response. Just because you belong to a group doesn’t mean you need to shake it to its core. But for those writers who can’t resist shaking things up, they will need to be open to criticism. In this case, there’s a movie version coming out and that will undoubtedly provide another opportunity for more discussion and more controversy.

Adam is a 320-page novel, originally published in 2014 by Mariner Books, a division of Houghton Mifflin Harcourt.

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Kickstarter: LEMONADE SUMMER, LGBTQ Comics (Ends April 7)

LEMONADE SUMMER by Gabi Mendez

“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.

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Review: ‘Let Some Word That Is Heard Be Yours’ by Alex Nall

“Let Some Word That Is Heard Be Yours” by Alex Nall

Comics is uniquely suited for any form of biography and to quite a fascinating degree. I’ve said that before and, to prove my point, I have all sorts of new things I can say about this theme in regards to Alex Nall‘s graphic novella, “Let Some Word That Is Heard Be Yours.” This is a look at the life and times of Fred Rogers (1928-2003), the host of the landmark PBS children’s program, “Mister Rogers’ Neighborhood.” Intertwined in this biography is a look at Nall’s own life as a grade school art teacher. As often is the case, the comics creator has created a mashup of bio and auto-bio. It’s a natural occurance among cartoonists to include themselves into the narrative. When done right, the results can feel like a smooth dreamy story.

A mashup of bio and autobio.

Nall’s artwork has a primitive child-like quality about it. He depicts himsself with a cumbersome bulbous pink nose. It is all hand-drawn, down to the lettering and color washes. This is a style that falls right in line with a lot of alt-comics: keep it simple; keep it slapdash. In this case, that look fits in. Nall evokes the frenetic energy of children: the good, the bad, and the ugly. Kids, the little angels we’d wish them to be, usually are far from saints. Time and again, Nall shares with the reader the reality of the daily grind of interacting with these wee people. Ah, big segue: Nall comes to find inspiration in his nightly revisits on his laptop to “Mister Rogers’ Neighborhood.” This triggers an exploration by Nall thus leading to confronting more than he bargained for.

A young and feisty Fred Rogers.

First, some words on Fred Rogers and his monumental achievement. Keep in mind, the “Mister Rogers’ Neighborhood” program ran from 1968 to 2001. There was nothing like it before and there will probably never be anything like it again. This is a show that speaks to kids on their own terms — and in a distinctive format that defies duplication. The viewership is mostly meant for 2 to 5 year-olds, but it appeals to any age. Fred Rogers became sort of a surrogate parent for countless children, spanning generations, simply by being there with kind and gentle entertainment mixed in with thoughtful observation and guidance. Everyone seems to fondly remember Fred Rogers and have a favorable opinion of him. You may have seen footage of a young and feisty Rogers testifying before Congress in support of PBS funding. Rogers was able to melt the heart of at least one tough and jaded senator.

Nall highlights a particular aspect in his story and provides an excellent example of how one element can affect the balance of the whole. Comics, with their panels and unique narrative structure, are inherently tricky balancing acts. You can include a scene in one panel and the ripple effect is under way. Refer back to it and the overriding subject behind it, and you’ve underscored it, boosted its significance. Return to the subject again, and the whole story points back to it, in a way, as if in service to that one aspect. These sort of shifts in focus happen all the time in big prose works. For example, a book on current events will have its most newsworthy items plucked for greater scrutiny by all the news outlets.

The Washing of Feet.

Nall makes a strategic choice to focus upon the relationship between Mister Rogers and Police Officer Clemmons. The scenes are from the point of view of Francois Clemmons. Rogers hired Clemmons to play the role of a police officer on the show. This was the late 1960s and police brutality was a hot news topic. In one particular panel, we see what looks like Mister Rogers washing the feet of Officer Clemmons. The unique nature of comics allows the reader to linger on a panel. The panel is already a highlighted moment, suspended in time, radiating beyond its borders. The actual moment that occurred on the show was held together by a very different medium. In the course of that scene with Clemmons, he and Rogers are indeed enjoying a moment of peace and quiet. As they are about to complete the scene, they both begin to get their feet out of the water. For a split second, Rogers takes a towel and passes it over Clemmons’s feet. It occurred so fast as to be subliminal. Certainly, it was packed with Christian symbolism.

Francois Clemmons speaks out.

That moment, both subliminal and highly symbolic, is what Nall sort of plucked and focused upon to keep the reader wondering. It is unusual. Once you see it, you can’t unsee it. Sure, it is benign. You could see it as ideal too. But it is also unusual. It was Rogers’s way of gently and kindly getting a message across, specifically of racial tolerance but transcendent as well. A moment of kindness. Done. We move on. However, Nall has tapped into something that he pursues further and which he would be hard pressed to avoid. His research consisted of four articles and two books. It is really the one book, 2015’s “Peaceful Neighbor,” by Michael Long, that is at the crux of this. In the book, Francois Clemmons claims that he was told by Rogers that, while Rogers supported Clemmons coming out as gay, the program was not ready for an openly gay character. If he came out, he would have to be let go. To further complicate matters, Clemmons claims that Rogers advised him to marry a woman and Clemmons did just that. Considering the era, Clemmons would certainly not be alone among closeted gays. Even today, there is no openly gay character on a children’s program.

Overall, Nall has done a good job in conveying some compelling facts. He is not bringing to light anything that was not already covered in “Peaceful Neighbor” but he has presented these facts in a different format and reached a number of new readers. Nall’s book is an achievement in the sense that any book of this kind put together by one individual is a small miracle in itself. So, yes, of course, I wholeheartedly congratulate Nall. It would be very interesting to chat with him on what parts of his book are style choices and what parts are simply the result of his current skill set. Personally, I am a strong believer in cartoonists perpetually pushing themselves to make the smoothest and most readable content.

I look forward to what Nall does next as he considers his next project. Nall has demonstrated that he’s not afraid to tackle as ambitious a project as the life and times of Fred Rogers. And, as I say, he has a good grasp of how the comics medium works. It can be a deceptively simple affair but, in fact, it has quite a built-in complexity. Once the process is set in motion, just like any other creative endeavor, it takes on a life of its own.

“Let Some Word That Is Heard Be Yours” is the latest installment of Nall’s “Teaching Comics” series. Visit him right here.

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Filed under Alex Nall, Alt-Comics, Alternative Comics, Comics, Independent Comics, Indie, Mister Rogers, PBS

SIFF Review: ‘The Fabulous Allan Carr’

“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.

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Filed under Gay, Hollywood, Movie Reviews, movies, Musicals, Seattle, Seattle International Film Festival, SIFF

Review: DARK PANTS #3

DARK PANTS #3 by Matt MacFarland

DARK PANTS #3 by Matt MacFarland

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

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

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.

Matt MacFarland Los Angeles

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.

Find Matt MacFarland and DARK PANTS right here.

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Filed under Alternative Comics, Comics, Gay, Independent Comics, LGBTQ, Los Angeles, Matt MacFarland, Sex

Interview: David Schmader on Literacy, Neighborhoods, LGBTQ, and Cannabis

David Schmader

David Schmader

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.

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Filed under Cannabis, Education, Gay, LGBTQ, Literacy, Marijuana, Seattle, The Stranger, Youth