Tag Archives: New York

New York Focus: Airbnb Learn Stand-up with a Comedian

Comedian John Kim and me.

The biggest fear for many, apart from death, is a fear of rejection! Well, I say, Fugetaboutit! In fact, if you’re in New York City, I encourage you to consider doing what I did: go up and do an open mic at a comedy club! Yes, that is what I did as part of an Airbnb experience, “Learn Stand-up with a Comedian,” hosted by Rishi and John, both NYC-based comedians there to show you around the NYC comedy scene. You can certainly just observe but I felt I was ready to jump in and go on stage.

New York City has been described as the cultural, financial, and media capital of the world–and that definitely includes comedy. Within the closely knit area of Greenwich Village, are a number of comedy clubs all with their own energy and history. And, at the epicenter is the Comedy Cellar where on any given night you might get to see such legends as Amy Schumer and Jerry Seinfeld. With the help of my mentor for the evening, comedian John Kim, I got quite an immersive experience. I learned a lot and was fueled with plenty of inspiration which made going up on stage for open mic all the easier. And what a stage! I couldn’t have asked for a better venue for a first-timer, The Lantern Comedy Club!

The Lantern Comedy Club

The great challenge is in confronting any doubts: Is the material good enough? Am I good enough? Yes, trust me, you’re more than worthy to go up on stage and just give it a try. More than likely, or let’s say it’s just about a guarantee, any misgivings will melt away once you start. Something will trigger in your brain: Go! Okay, here’s the next hook! Stop, try to pause. Go! Add this. Don’t say that just yet..okay, say it now.

As in anything, you get what you bring to something. I’ve been working on a particular character and his story arc for quite some time. I decided to put together a comedy bit and featured Maximo Viaje, a guy form Mexico City who has somehow stumbled upon a journey of self-discovery in the U.S. even though he entered the country illegally. For Max, that’s just a small problem in a much bigger picture. Okay, so this is a fictional character that I’m bringing to life on stage. Now, for all you fellow writers, tell me: Wouldn’t this be a very useful exercise for you? Check it out:

You get into a frame a mind and, yes, your mind is a beautiful thing and it’s in it to win it. Thanks to my beautiful mind and to such an insightful and inspirational guidance from John Kim, I did more than just get through my set. I really learned and grew from the experience. And, just like hitting the gym, you know when you’re in the zone and you know you want to get back to it again and again.

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Filed under Airbnb, Comedy, Greenwich Village, New York City

New York Focus: Airbnb: Photographing NYC with Pro Photographer Abdiel Colberg

Here are some of the photos that I took with pro photographer Abdiel Colberg.
He is a very kind, patient, and thoughtful person. Such a talented artist who was so generous with his knowledge. Here are some photos I took under his guidance. Check out his website right here. And check out the Airbnb course right here.

Be ready to walk around and take some great photos!

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Filed under New York City, Photography, Travel

New York City Focus: Airbnb Drawing Session with Ben Ponté

Here I am drawing Grand Central Terminal.

You can’t deny someone what they love because love will find a way. So it is with me and drawing. I’ve always loved drawing. I draw very well, if I do say so myself, and I don’t have to make excuses for it, thank you very much. You wouldn’t begrudge a ballerina for dancing very well or a professional singer for singing very well. I think you know what I mean. I think I know my way around words too but that’s another story. It’s not about conceit. No, it’s simply talking about how someone is built. This is what they know.

What I’m getting at is that I took a drawing work shop recently. The photos here of my efforts during the session. The truth is that any artist, no matter how good, can always make good use a creative workout. That’s why life drawing sessions are so popular: most of the people aren’t trying to learn the basics. No, they’re having a creative workout. So, I was beyond pleased to discover this drawing session offered through Airbnb during my stay in New York City.

Chrysler Building

Wow, you just can’t go wrong and, let me come back to this, your skill level is NOT the important thing. Say, you went to do a yoga session. It’s like that. Everyone moves at their own pace. Funny I should mention yoga as the instructor for this Airbnb experience, Ben Ponté, is both an artist and a yoga instructor. Well, it makes total sense to me.

With all that said, I had a blast. And maybe, at my relatively high skill level, I was tapping deeper into our shared activity than one could expect from a novice. Again, it doesn’t matter. First, I’ve spent a lifetime developing my art. If someone walks in and is trying out something they are new or unfamiliar with, they are simply going to need to take things one step at time.

New York Public Library

Look, I’ve been hitting the gym regularly since the start of this year and it has become very apparent to me that I’m at a beginner level to say the least. I’m more into recovery exercises from years of being a coach potato. Well, maybe not a total coach potato. But, there you go, we all have our stuff to work out.

The moral to this story is pretty straightforward. Be passionate about life and go out there and tackle new things but know your limits. If you have to take small steps, then so be it. Before you know it, you’ll reach a master level. It’s good for the soul and just plain fun to reach a certain skill level. I have my faults but I can always come back to the drawing board in more ways than one. And, at an actual drawing board, I feel right at home.

Bryant Park

I found a moral but the big point also is that I sense everyone had a good time under the leadership of our very upbeat and accessible instructor. Yes, I can’t praise Ben’s course more than to state right here that it really got me thinking and got me motivated. I’m telling you, it’s a creative workout–and we all need that. Everyone can lay down a mark and express themselves. That is one of the big secrets, I suppose, to drawing. It’s all about process. The only way you’ll get it is by actually doing it. The same thing with going to a gym: the only way you’ll get results is by actually working out at the gym.

You’ll have to pardon my rambling, if it comes across that way. I just felt like jotting all this down. I’m still in New York City as I write this. And I’m still right in the middle of a thousand and one things related to being in New York City! Ah, the city that never sleeps!

Alright, I had better find a way to wrap up. Well, I highly recommend Airbnb for so many reasons. For the purpose of this post: try out the Airbnb experiences! And, when in New York City, get your Airbnb creative drawing workout from Ben Ponté! Vist Ben right here. Check out his Airbnb session, “Sketch Your Way Around New York” right here.

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Filed under Airbnb, Comics, Drawing, Travel, Travelogue

Review: ‘Chinatown Bus’ by M. Jacob Alvarez

Page from “Chinatown Bus”

Look in the About section to his website and M. Jacob Alvarez says of himself: “M. Jacob Alvarez is a cartoonist, comedian, and chemical engineer (seriously dude, silly drawings and conspiracy theory jokes don’t pay many bills…)” How true! Well, being a chemical engineer is an astonishingly good place to be if you want to create a graphic novel. Less to worry about or more room to worry about other things–since there’s always something. How about if you’re young and vulnerable? That is exactly the subject matter Alvarez tackles in his new graphic novel, “Chinatown Bus.” It is a heart-felt exploration of hipsterdom–and Alvarez’s irreverence serves him well here.

There’s a certain time in your life when you will not only tolerate, but even revel, in drinking cheap beer from a Solo plastic cup, sold to you at a premium price since you’re in a chic nightclub (which ain’t so chic). There you are under a low ceiling packed in a little sweatbox with a bunch of other scenesters pretending to like a really bad band. So intense! The aim of Alvarez’s 84-page graphic novel is not so much to satirize. More like to bear witness. While not an autobio comic, Alvarez admits in his forward to being very familiar with the struggles of his young characters.

“Chinatown Bus” by M. Jacob Alvarez

Alvarez has a wonderfully energetic and cartoony style that is accessible and inspires empathy with his characters. Lyn is a guy from Philly taking the Chinatown Bus to New York City. He is in a long distance relationship and is sort of feeling stuck. All it takes is a text miscommunication from Kelly, his girlfriend, and Lyn is ready to call it quits. To his credit, Lyn is certain that Kelly has just dumped him. There is a cute passenger he’s been eying and so he decides to confide in her. Jane, flattered to have Lyn open up to her, invites him to hang out with her.

Panel from “Chinatown Bus”

It turns out that Kelly did not really dump Lyn, at least not outright. Alvarez really enjoys setting things up and then lighting the fuse. A fine example is once all three of these characters meet. Jane ends up knocking Kelly out cold. Lyn explodes and unleashes his fury upon Jane. He chastises her. Turn the page and Jane is full-on outraged for being called a drama queen. Three more pages, and we see Lyn’s steady descent, completely alone and deflated.

Page from “Chinatown Bus”

Any reader will enjoy a gritty urban tale about young people trying to find themselves. These characters definitely have their flaws and are prone to hide behind caustic remarks but Alvarez presents it all with a human touch that will resonate with the reader. This is a great example of a cartoonist’s debut graphic novel. Alvarez has successfully followed through on a specific theme and vision.

“Chinatown Bus” is available at multiple comics shops including Philadelphia, Chicago, San Francisco, and Columbus, Ohio. For more details, visit M. Jacob Alvarez right here.

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Filed under Comics, Graphic Novel Reviews, graphic novels, M. Jacob Alvarez, New York City

Review: ‘Tenements, Towers & Trash: An Unconventional Illustrated History of New York City’

Tenements, Towers, and Trash!

Cartoonist Julia Wertz has a distinctive outlook (irreverent, pithy, snarky) that has gained a loyal following of readers. With her latest work, she brings her unique style to bear on the Big Apple. It is an honest, funny, and insightful approach to learning about how cities evolve, particularly New York City, the quintessential urban mecca. Early in her cartooning career, Wertz said she resisted writing some sort of coming-of-age book set in NYC. Now, more mature, she can dish on the history of the city that never sleeps while also, inevitably, sharing something of her journey of self-discovery. It all makes for an intoxicating blend: “Tenements, Towers & Trash: An Unconventional Illustrated History of New York City,” published by Black Dog & Leventhal.

Wertz sets up a poignant and vulnerable starting point: the remains of the New York World’s Fair of 1964. It’s not a pretty sight. No, it’s a mishmash of faded totems to the future. Ironic stuff, indeed, irresistible to a wise-cracking cartoonist! Surely, you know that most, if not all, cartoonists have a sardonic sense of humor. And Julia Wertz is just the sort of sardonic tour guide you would want. But it’s not just about the snark–far from it. Sure, Wertz puts the 1964 World’s Fair through the wringer, deeming it a celebration of corporate-sponsored consumerism. Now, the 1939 New York World’s Fair had style but, in its own way, it too was a celebration of corporate-sponsored consumerism. This sort of comparison easily lends itself to delving deeper and therein lies what this book is about, what makes it unique and beautiful.

Egg Creams, best to keep them simple.

New York City is all about the tension between the pretty and the not so pretty. Wertz revels in this fact. It seems as if she can’t get enough. Just when you think you have this book figured out, Wertz will delight the reader with shifts in narrative, compelling visuals, and overall heart-felt enthusiasm, the sort of lust and vigor you’d expect from an Indiana Jones in the jungle except this is Julia Wertz on countless urban expeditions. She tracks down everything: bagels, egg creams, The Village Voice, railroad flats, micro-living units. It’s all here and then some.

I love New York almost beyond words. My heart goes out to Julia Wertz and her marvelous long walks spanning hours upon hours and covering multiple boroughs and miles. I highly recommend taking this book on a NYC trek of your own. It’s a hefty hardcover but, if you make it your primary item in your backpack, you’ll be just fine. You can make your own comparisons and connections guided by all the amazing drawings that Wertz has to share of bygone and contemporary New York. This book is really an inspiring combination of prose and artwork and comics. This is simply a dazzling book collecting a treasure trove of insight and information and making it all feel like a carefree conversation.

223 W. 42nd Street in 1964 and in 2014.

“Tenements, Towers & Trash: An Unconventional Illustrated History of New York City” is a 284-page hardcover published by Black Dog & Leventhal.

If you’re in Seattle this weekend, be sure to stop by and see Julia Wertz at the annual comic arts festival, Short Run, or the the Seattle Public Library. At Short Run, on November 4th, Wertz will be giving a slideshow/talk about her urban exploring from 3:30-4:30pm at the Vera Project. And at the downtown Seattle Public Library, on November 5th, Wertz will hold a slideshow and conversation with cartoonist Nicole Georges from 2-4pm.

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Filed under Comics, graphic novels, Julia Wertz, New York City, Short Run, Short Run Comix & Arts Festival

Review: THE LEGEND OF PINKY (Book I of VI)

THE LEGEND OF PINKY (Book I of VI)

There’s a lot of thought and care that goes into a solid work of comics but the results should be magical for the reader. Within the multi-layered world of independent cartoonists there is a fair amount of intrigue mixed in with camaraderie. Creators can get lost in a fog of competing interests. The answer is to find your way and simply pursue your vision. Cartoonist Craig Johnson II has tapped a significant vein of New York City history to create a comic both purposeful and entertaining. THE LEGEND OF PINKY, an ongoing series ultimately to be a graphic novel, published by Carbon Age Comics, is set in the early years of gangsters (1920s to 1930s), specifically involving the interconnections between Jewish and African American players.

Harlem’s uneasy friendship with Pinky.

The main character is Irving “Pinky” Horwitz, a lean and mean trained killer in the Goldman gang. He is an exceptional assassin, when he bothers to do his job. Pinky’s biggest flaw is an utter lack of discipline. If there is a chance for him to feed his lust and ego, he will take it. And his favorite place to do that is Harlem. In that arena, reckless young women jump into bed with him and skeptical young men sometimes push back and sometimes accept him. With Pinky, and those in his orbit, Johnson has created one of the most fascinating comics currently available.

Pinky and his mom.

The story begins with a pivotal moment gone wrong. Pinky was supposed to report for an important mob hit of two rivals. Instead, he was in bed with his latest conquest. Meanwhile, Sam, his partner, attempted the complete the two-man job by himself but was only able to kill one of the two men. And so begins the conflict that demands resolution in the first issue of this comic. Pinky, no doubt, is due his comeuppance. But Pinky is not without some redeemable traits. Clearly, Pinky seeks approval. There are two women in particular that he cares about: his own mother; and Yetta, a union organizer of garment workers. He takes great delight in showing most people his disdain. But, for a select few, he values some connection, especially the friends he seems to have made in Harlem.

Pinky in his element.

I am often asked what it takes to create a graphic novel. Well, I like to add that this undertaking is, intrinsically (in the undertaking) and ideally (in the creator’s vision), a heroic work. And then I always say that a hero (or an anti-hero) is essential to the story. By and large, this is the model of the vast majority of successful graphic novels. Most of these works are biographies and borrow from history in one form or another. The fact is, to do this right, you don’t want to get bogged down by the facts. This is a work of entertainment, not a meticulous history. Johnson is spot on in how he incorporates history into the bigger picture of his narrative. Everything lifts off the page as we follow accessible characters and vivid action.

Pinky’s alright!

Graphic novels, when true to their original intent, are vivid works of sequential art that evoke the breadth of a prose novel within its own unique narrative structure. Johnson is sensitive to what is possible in the comics medium. He has done the legwork necessary to create a credible foundation as he goes about completing his full-length graphic novel. The artwork is dynamic and the pacing is compelling. Essentially, he has found something that can be quite daunting for many a cartoonist lost in a fog. Johnson has found something to care about. He is compelled to follow through on his vision. This first issue clearly demonstrates that.

Be sure to keep up with Craig Johnson II right here and THE LEGEND OF PINKY, and Carbon Age Comics, right here.

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Filed under Comics, Comics Reviews, Craig Johnson II, Graphic Novel Reviews, graphic novels, New York City

Great Review of ‘Alice in New York’ by Henry Chamberlain

I really appreciate the insightful review by Stacey E. Bryan of my graphic novel, “Alice in New York.” Stacey is the author of the humorous supernatural thriller, “Day for Night.” Her review is a wonderful boost of acknowledgement. All of us writers and artists strive for just this sort of connection.

The Big Apple. For a lot of people, those four words would mean little or nothing. But for me personally, it means a lot, because I was living there in 1989. The Twin Towers were still intact. Our country hadn’t turned that strange corner yet and started accelerating down a slippery slope into the 24-7 fear-mongering which has left us in the mess we’re in today.

When you’re in a mess, there’s no room for magic. But in 1989, in New York City, the old gods, the old ways, were still intact, and this is the year and the setting where Henry Chamberlain captured that feeling tenderly and bravely with his graphic novel “Alice in New York.” […]

via Alice In New York: A graphic novel by Henry Chamberlain — Laughter Over Tears

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Filed under Alice in New York, Alice in Wonderland, Comics, Graphic Novel Reviews, graphic novels, Henry Chamberlain, New York City, Supernatural

Kickstarter: FAMILY MAN by Jerome Charyn & Joe Staton

FAMILY MAN by Jerome Charyn & Joe Staton

The story begins in New York City…one hour into the future. Crime runs rampant, rogue cops patrol the rubble-strewn streets, predatory gangs steal anything that isn’t nailed down, and the once powerful mafia dons cower in fear in their tenement prisons. Someone is killing the mob chieftains one by one, and the last survivors call on Alonzo, The Family Man, to hunt down the murderer. But it won’t be easy – not when Alonzo’s own brother Charles, the gun-toting Monsignor of the corruption-ridden New York City police department, is a prime suspect.

Full page of original art by Joe Staton

Jerome Charyn (The Magician’s Wife) is one of my favorite writers. He is a one-of-a-kind visionary. Charyn has worked with some of the best cartoonists in the world and his work with Joe Staton (Dick Tracy) is no exception. Take a look at the examples in this post and it will give you a taste of the hard-boiled, multi-layered tale that is FAMILY MAN. A Kickstarter campaign is on now thru May 21st in support of releasing, for the first time, a collected graphic novel of this classic work. Visit it right here.

Jerome Charyn & Joe Staton

This is a project that Mr. Charyn and Mr. Staton worked on in 1994, during the heyday of Paradox Press, an imprint of DC Comics. Take a closer look at the artwork and marvel over the distinctive shading made possible with the Craft Tint duotone process. These special bristol boards were coated with shading underneath the surface. The artist exposed the shading as needed. Back in 1994, FAMILY MAN ended up as a three-part comic book series of 96-pages each. Thanks to IT’S ALIVE! Press, this stunning work of comics can now be given the best possible presentation as a graphic novel. That includes displaying each page as it originally appeared on the art board

Close-up view of Joe Staton artwork

I really can’t say enough about the remarkable talent of novelist Jerome Charyn. We will pursue that further in subsequent posts. What I’ll say now is that he was way ahead of his time, at least in American circles, by taking his literary skills to the comics medium. In Europe, for example, that has been well understood for decades. In America, we’ve had time to catch up. If you read a Charyn work in comics, you are treated to a vast world of intrigue with characters that will get under your skin. For FAMILY MAN, Charyn and Staton serve up a nice pulpy noir tale set in New York City “one hour into the future.” It is a story about two brothers on separate sides of the law caught in a dystopia they understand all too well and which will pit them in a bloody conflict.

It’s not too late to join in and reserve your copy of FAMILY MAN. This is a wonderful opportunity to own a shining example of comics at its best. Check out the Kickstarter and learn more about rewards, including original art by Joe Staton, right here.

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Filed under Comics, Crime Fiction, Dick Tracy, Drew Ford, graphic novels, IT’S ALIVE! Press, Jerome Charyn, Joe Staton, Kickstarter, New York City, Noir

Review: LITTLE TULIP by Jerome Charyn and François Boucq

LITTLE TULIP by Jerome Charyn and François Boucq

LITTLE TULIP, a graphic novel recently reissued by Dover Publications, by Jerome Charyn and François Boucq, is definitely not something that is cooked up overnight. No, on the contrary, like anything worthwhile, this is a work that is carefully constructed with meticulous precision. It only looks effortless, and it is the sort of comics that I prefer.

Paul, the master, teaches Azami, the apprentice.

This graphic novel immerses the reader in Soviet prison tattoo culture. Within the Russian underground community, these unique tattoos formed a service record of a criminal’s transgressions. Skulls denoted a criminal authority. A cat represented a thief. And, in the case of our story, a tulip represented a young person joining the ranks of a gang. Today, these same tattoos have become fashion statements because of their mystery and fierce beauty. They were, then and now, a way to step beyond the ordinary. For our main character, Paul, they were also a way to step beyond the horrors of the gulag.

Page from LITTLE TULIP: New York City, 1970

Our present setting is New York City, 1970. There is a serial killer on the loose. Paul runs his own tattoo shop and is also a police sketch artist. His work with the police is more than just a gig but a calling, a way to seek justice. Not only does Paul have that uncanny ability to render a likeness based upon a witness’s verbal description, he also has a sixth sense about criminals. He will often act as a medium for hard to crack cases. There may be honor among thieves but, for Paul, there are crimes that compel no mercy.

Paul came from an American family that chose to live in Moscow for a while. The timing could not have been worse since this was the 1950s during the reign of Stalin and the secret police. One misunderstanding too many and the whole family gets shipped off to Siberia where they are immediately separated into a gulag. But, just as all hope may be lost, Paul, now Pavel, has inherited from his father an artistic sensibility that will help him endure the worst.

Page from LITTLE TULIP: Train Trip to Siberia

This is a story as much about one man’s journey among hardened criminals as it is a story about how life and art commingle, how art can save one’s soul. This is a multi-layered masterpiece of a script by renowned writer Jerome Charyn; and a breathtaking, bold, and completely enthralling work of art by renowned artist François Boucq. The structure of this graphic novel is just impeccable: a story told at a easy and natural pace with room enough for metaphysical musings.

More more details on LITTLE TULIP, and how to purchase, visit Dover Publications right here.

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Filed under Comics, Crime, Crime Fiction, Dover Publications, François Boucq, Graphic Novel Reviews, graphic novels, Jerome Charyn, New York City, Russia, Tattoos

Interview: Edward Sorel and a Grand Career in Illustration

Edward Sorel in his studio.

Edward Sorel in his studio.

Anyone interested in illustration, art, satire, or the specific art of drawing, will know something about the career of Edward Sorel. The work of Edward Sorel covers a wide spectrum resulting in a hefty portrait of the human condition, with a notable eye to speaking truth to power.

My interest in Edward Sorel runs deep. I checked out from my school’s library Sorel’s 1972 collection, “Making the World Safe for Hypocrisy.” It was 1973 and I was a sensitive and highly impressionable lad of 10 years-old. I was filling sketchbooks with portraits of Watergate personalities, both villains and heroes. I tore into that book and marveled over Sorel’s distinctive crosshatching and his lively expressive line work. I was in awe with how he brought to life various dignitaries, politicians, and movie stars. The gold standard had been set in my mind and it hasn’t changed ever since. What really wows me now goes back to my early introduction to the work of Edward Sorel.

Quotes from reviews for Mr. Sorel’s new book, “Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936,” published by Liveright/W.W. Norton & Company:

“Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to ‘Moose Murders.’ Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. Not only does he then write a terrific book, but he illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading, but in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny, and in the end, touching.”
—Woody Allen, The New York Times Book Review (cover review)

“Rapier-sharp…With a tip of his pen to Daumier, the artist evokes the quaint, febrile glamour of Astor’s Hollywood, and his affectionate, conversational prose gives Mary and her story a kind of valiant dignity never bestowed while she lived.”
—Edward Kosner, Wall Street Journal

“Delightful, colorful, and occasionally cheeky.”
—Allison Sadlier, Entertainment Weekly

From "Mary Astor's Purple Diary" by Edward Sorel

From “Mary Astor’s Purple Diary” by Edward Sorel

Edward Sorel (born Edward Schwartz, 26 March 1929, The Bronx) has recently released a book from Liveright/W.W. Norton. The book, entitled “Mary Astor’s Purple Diary” is about his lifelong obsession with film star Mary Astor but it’s also a memoir of a sort. You may have read Woody Allen’s review of the book in The New York Times Book Review. Allen had the honor of introducing many new readers to the opening story in the book: It is 1965 and Edward Sorel, newly married and settling into new digs, is left with the task of replacing the old linoleum kitchen tile. Lo and behold, buried underneath is a stash of old newspapers chronicling the scandalous 1936 custody battle of Hollywood star Mary Astor. Well, the rest is history and this most engaging book.

I interviewed Mr. Sorel this last Wednesday, February 8th. I hope you enjoy it.

HENRY CHAMBERLAIN: Turning our attention to Mary Astor, what is intriguing about her is that she had a life where one plus one kept equaling three. Despite a series of bad choices, whether in lovers or career options, Mary Astor managed to persevere. Is that part of the appeal, that she took such an offbeat path?

EDWARD SOREL:
The appeal came when I read her memoir. She was a self-denigrating and witty writer. Very observant. Somewhat cynical about Hollywood. She had an intelligence that appealed to me. Then I started seeing her movies and I was hooked on her. Her bad decisions that you refer to have to do with having had an abused childhood, not in any physical way but in a mental and psychological way.

Her father kept her from having friends because he didn’t want her to see how Americans lived, how Americans treated their children. He wanted to be the dictator of his home. And he succeeded. She was unable to break free from him until quite late in her life. And it kind of ruined her. And God knows she made a lot of terrible mistakes in her life.

Marry Astor and John Barrymore.

Marry Astor and John Barrymore.

I was watching 1924’s “Beau Brummell” and I am intrigued by the relationship Mary Astor developed with her co-star, John Barrymore, of all people. In their case, the twenty year age difference was inappropriate. However, it was what it was. And it was through Barrymore that Mary Astor learned a lot and gained self-confidence.

He did do her a lot of good but not for any altruistic reasons. He was out to nail her. He was on his way to Hollywood on the 20th Century Express. He had just completed the most successful run of “Hamlet” that America had seen. He was acclaimed as America’s greatest actor. He was on his way to the coast to make “Beau Brummell” for Warner Bros. because they were paying him a lot of money. And he picks up a magazine that has a photograph of Mary Astor about the age of 16 and under the photograph it said, “On the Verge of Womanhood.” Barrymore had a particular liking for virgins.

As I pointed out in the book, it was Barrymore who had his way with Evelyn Nesbitt, who later married Harry Kendall Thaw. And it was Thaw who shot Stanford White, America’s great architect, because he thought Stanford White had taken his wife’s virginity–when, in fact, it was Barrymore. That is a sidebar I’m proud of since I pieced together that bit of information.

According to Mary Astor, Barrymore really believed that he was going to marry her. And maybe he did plan to. But when Mary would not break free from her parents, after Barrymore offered her starring roles, because her father forbade it, Barrymore realized that she was just a child. She was completely under the sway of her father. Marrying a woman twenty years younger was one thing but marrying a child was something else. He broke her heart by calling it off.

I think it’s a cartoonist thing, as I’m a cartoonist, that we keep seeking out the offbeat. So, in the spirit of that I throw out a curveball, and ask you about your changing your last name to Sorel. You are referring to Stendhal’s “The Red and the Black.” I loved that book and the main character, Julian Sorel. Is there something interesting going on there with that connection?

I liked to think that I saw myself in Julian Sorel because he was like catnip to women, which I really wasn’t, and he hated the corrupt society of his time, as I hated mine. The first election that I voted in was the one between Eisenhower and Stevenson. I took a dim view of both of them and voted for a third party.

The other thing about Julian Sorel was that he hated his father. God, I certainly hated mine, not only because he tried to discourage me in wanting to be an artist but because he was a mean-spirited ignorant man not kind to my mother, not kind to anyone. And I didn’t want anything to do with him. I was going to be a cartoonist and I didn’t want to sign my name, Schwartz, in the right-hand corner. And I chose the name, Sorel, because of the novel. It seemed as good a name as any.

"Stagecoach." 1980 illustration for Esquire magazine.

“Stagecoach.” 1980 illustration for Esquire magazine.

I think back to myself as a boy wondering about how you created your work. You’ve spoken about “finding lines.” Could you share a little bit about that?

When you work commercially, and you’re taking assignments, you have to show the art director what you plan to do. So, you do sketches of the drawing you plan to do. And, after a while, I began to notice that my sketches had more vitality and life than my finishes did. My finishes were often dead and overworked. And so I tried to emulate the quality that I had in my sketches which meant doing it without tracing. In point of fact, that’s impossible to do if you’re doing very complicated scenes. You can work direct if you’re doing a face, a figure, a still life, or anything relatively simple. You can work direct without tracing and the work has a vitality to it. But when you’re doing complicated scenes, with many different elements, you really do have to know where you’re going. So, I found out that if I just had a light outline of where I wanted the elements to be, and didn’t trace, I could keep this sketchy quality that I think gave my art work some distinction.

"The Goodwood Races," 1939, by Feliks Topolski (1907-1989).

“The Goodwood Races,” 1939, by Feliks Topolski (1907-1989).

That quality of your art has influenced so many artists, whether they realize it or not. And, certainly, there have been other artists who have used an “expressive line.” You have talked about some of your favorites, like Feliks Topolski. There’s a certain sensibility that you both share.

Yes, well, he wasn’t trying to be funny like I always have. But his work has spontaneity, which I value in every artist. Wether its Bemelmans or Topolski. What shocks me now is to find so many artists who enjoy doing art work with a computer. I’ve seen some very nice computer art. You can get that nice flat color and can do all sorts of tricks that you can’t do by hand. But, to me, it doesn’t seem like fun. It seems like working on a machine. I just love the act of drawing. I’m a throwback. Most of the illustrations that you see today in magazines, and God knows you don’t see too many, are computer-generated in some form or another.

One compromise is for the artist to draw some of the illustration by hand, scan it, and do the rest on a computer.

It doesn’t seem fun to me but it must seem fun for them. I don’t cast aspersions on their way of doing it.

I think it boils down to being a time-saver. And, once a routine has set in, that’s the way it’s done and that’s it.

The other thing about computer art is that there’s nothing original, nothing to hang on the wall. You could have a show but it would only be prints. To each his own.

"Pass the Lord and Praise the Ammunition," 1967, by Edward Sorel

“Pass the Lord and Praise the Ammunition,” 1967, by Edward Sorel

I wanted to touch on one of the all-time classics, your 1967 anti-war illustration, “Pass the Lord and Praise the Ammunition.” The real life punchline there is that you were all set to roll out a poster when the focal point of the piece, Cardinal Spellman, passed away rendering your satire unsellable. Now, there’s some divine intervention.

The day it came off the press is the day he died. It never sold in any store in America. It is in a museum in Amsterdam. One store in Chicago tried to sell it and had its window broken. Apparently, Cardinal Spellman had some fans in Chicago. That was a bad break. You get some bad breaks and you get some good ones. I was the recipient of Woody Allen’s praise on the front page of The New York Times Book Review. That was the best break I ever had.

From "Edward Sorel: Nice Work If You Can Get It," 2011, by Leo Sorel.

From “Edward Sorel: Nice Work If You Can Get It,” 2011, by Leo Sorel.

I encourage everyone to check out the short film on you that your son, Leo, did. That is quite informative and a treat. It shows you in your studio. And then the Q&A afterward with illustrator James McMullan is very impressive. Towards the end of that, you talk about the pen you favor, a Speedball B6. I’ve always had a devil of a time with steel point dip pens. But the Speedballs I could manage. And then you flip it backwards to get the crosshatching.

Yes! That was my secret. The Speedball does move and it allows you to be kind of spastic over a piece of paper.

"Nixon and Mao," 2007, The New Yorker.

“Nixon and Mao,” 2007, The New Yorker.

I wanted to ask you about Donald Trump. There was that drawing of him as Medusa you did last year. The big news at the moment is all about Mitch McConnell silencing Elizabeth Warren. I could see that as perhaps triggering an Edward Sorel drawing.

I can’t cope with Donald Trump. I haven’t done political cartooning in a number of years. I can’t deal with him. With all other presidents, you could make fun of their hypocrisy and have fun with them. But Mr. Trump is kind of crazy. And he’s dangerous. He’s cruel. Making fun of him doesn’t seem what’s called for. It’s trivializing him. He shouldn’t be trivialized. He’s really a danger. People are really scared. They wake up with Donald Trump on their mind and they go to bed with him on their mind. He’s a heavy presence in our lives now. I don’t know how to deal with that.

You can’t call him the new Nixon. At least with Nixon, there was a mind at work. It’s being very generous, but there was some sense of integrity compared to Trump. Nixon you could call a president. But, with Trump, he’s president only by title.

He seems unhinged. I think it was Bernie Sanders who called him unhinged. He seems too crazy to be in that office. I don’t know what else to say about him.

Donald Trump illustration, 2016, for Vanity Fair.

Donald Trump illustration, 2016, for Vanity Fair.

Especially living it right now. It is stomach-turning. I won’t talk about him anymore. But I do need to mention Melissa McCarthy’s impersonation of Sean Spicer. Have you seen that?

No, tell me about it. I’ve been trying to avoid the news lately.

Well, Melissa McCarthy is a comic genius and she was on Saturday Night Live last weekend. She did a spot on impersonation of Sean Spicer, had the look and mannerisms down.

Oh, wait, I did see that! A friend sent that to me.

I think that has the power of a political cartoon and then some. It captivated everyone. It was an emotional release for everyone to see that.

Yes, I’m sure it was. It was very funny.

It seems to me that every artist needs a hero, someone to play off of. I see your book, weaving your life with Mary’s, as following the artist’s struggle. I think of how Mary evolved. I think of how Mary and Bette Davis were able to rewrite “The Great Lie,” turning that around into a notable film.

She did become a very fine actress. But she also became a little bit like her father, terribly obsessed with money. She twice turned down contracts for starring roles since she believed supporting roles would provide a longer career. She did indeed have a long career. She was in over 100 movies. And she was going strong until about 1959. She didn’t take chances. Maybe she didn’t believe she was a good enough actress. She missed having a chance at great roles and great performances. That was too bad.

My obsession with her has to do with my thinking I wasn’t a great artist because I didn’t have an obsession. So, I was very grateful when people called my interest in Mary Astor an obsession. Yes, it was an obsession and I do think it helped produce my best work.

"Mary Astor's Purple Diary: The Great American Sex Scandal of 1936" by Edward Sorel

“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” by Edward Sorel

Can you tell us about your connection with Boston University?

I was very lucky to have Boston University buy my entire work, my oeuvre, as we say. In March, they’re having a retrospective of all my work and, as a matter of fact, I’m still packing up things to send there.

The Howard Gottlieb Center at Boston University has one of the finest collections from all walks of life. They have the second largest Martin Luther King collection. They have many of America’s great writers. They have Fred Astaire and Ginger Rogers. They have most of the actors and actresses from the golden age of Hollywood. I’m very delighted to be part of this collection.

Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.

Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.

I heard a siren in the background. It brings back my visits to New York. You are a lifelong New Yorker and I know how much you love New York. Could you share some of your thoughts on the city?

I do love New York. I don’t love the crowds anymore. I do worry. When you live in a city like New York, you do begin to see a kind of science fiction future: crowds everywhere, lines everywhere. New York is kind of becoming that. They keep building these enormous skyscrapers without thinking about how the city will accommodate it. They’re not building out, like they did in Los Angeles. They’re building up. It used to be that the only crowds were in midtown but now crowds are all over. And you find yourself walking in the gutter because there’s too many people on the sidewalk.

So, yeah, I love New York. The New York that I grew up with, where the museums were free and everyone went to public school, seems to have vanished. Everything is expensive now, including the museums. It’s very difficult for young people. When The New York Times that I used to buy for three cents is now $2.50, The New Yorker which I used to buy for ten cents, is now something like $7, it’s bizarre. And, of course, the wages that young people get are pitiful. So, yeah, I love New York but I don’t like the time particularly.

Is there anything else that you’d like to add?

I can tell you about my next book. It’s going to be similar in structure to the Mary Astor book. It’s going to be a memoir. It will be about my growing up in New York. And it will be about the thirteen presidents that I’ve lived through.

My point is that every one of these presidents, whether I liked them or not, committed illegal acts, overthrew governments illegally, and did unconstitutional things. Starting with Dwight D. Eisenhower, who became enamored with Billy Graham. It was through those machinations that they put “In God We Trust” on our currency and inserted “Under God” in our oath of allegiance. Somehow, I regard that point in history as the slope we’ve been sliding ever since.

Now, it’s done so garishly with someone like Trump.

Right. Trump, the great Christian, who apparently was much loved by the Bible Belt. I don’t think there’s anything more derogatory I can say about organized religion than that they were responsible for the election of Donald Trump.

Is part of the new book you’re working on sitting on your drawing board?

Not yet. A little bit is sitting on the computer. Nothing has been drawn yet.

I wish you well on that. It’s been exciting and quite a treat to get a chance to talk with you for a bit.

You’re very kind. Thank you so much.

You can listen to the interview right here.

“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” is a 176-page hardcover, with full-color illustrations, published by W.W. Norton & Company. For more details, visit W.W. Norton & Company right here.

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Filed under Art, Cartooning, Cartoonists, Donald Trump, Edward Sorel, Illustration, Interviews, New York City, Political Cartoons, politics, Richard Nixon