The Mix : What are people talking about today?

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MICHAEL H. PRICE: The Man Who Was Easy

wash-3274695Back during the middle 1960s, my newsroom mentor George E. Turner and I became acquainted with the Texas-bred cartoonist Roy Crane (1901–1977), whose daily strip Buz Sawyer – a staple of the local newspaper’s funnies section – had recently landed a Reuben Award from the National Cartoonists Society. Like some Oscar-anointed filmmaker with a current box-office attraction, Crane was visiting his syndicate’s client-papers, one after another, to help promote this touch of newfound momentum for Sawyer as a circulation-builder.

Now, George and I were admirers of Crane’s storytelling artistry from ’way back, and we were as interested in an earlier example called Wash Tubbs. Crane had shepherded Tubbs during the 1920s from a gag-a-day feature to a full-fledged high-adventure vehicle of sustained force, then entrusted it in 1943 to his boyhood pal and studio assistant, Leslie Turner, when the opportunity came to develop Buz Sawyer.

For a good many readers, the greater attraction of Wash Tubbs lay not so much in its title character – a boyish adventurer with an affinity for trouble – as in Washington Tubbs’ cohort, a man of action known as Captain Easy. Easy seemed to George Turner and me an essence of resourceful heroism, and we had wondered: Who might have been the life-model for the rough-and-ready Southerner? (Wash Tubbs’ origins seemed an easier call – in part, a wish-fulfillment projection of Crane himself.)

So while visiting with Crane, we asked about Easy. One of us set forth the theory that Easy was based upon either Richard Dix or Jack Holt, square-jawed, hawk-nosed figures who were noted for their tough-guy movies at the time Easy had appeared. Crane smiled and changed the subject.

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George and I were hardly alone in the wondering. Historian Ron Goulart also had asked; Crane had replied simply that his brother-in-law had suggested that Washington Tubbs needed a strong sidekick, and that he, Roy Crane, had concocted Easy in response to the idea. Goulart had said that Easy seemed reminiscent of Tom Mix, the cowboy star, but Crane had dismissed the idea by saying that he had used his brother-in-law as a model.

But according to separately collected but unanimous opinions from school-days friends of Crane, Mr. William Lee, a.k.a. Captain Easy, was modeled after a college pal. Journalist-turned-novelist Carlton Stowers put us on the track after he had visited with another friend from Crane’s youth.

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BIG BROADCAST talks with Roy Thomas!

roy-6265082He calls himself the "Super Adaptoid" of comics and we can easily say he’s done it all – from Sgt. Fury to the Justice Society and from Millie The Model to Conan. How did a school teacher from Missouri end up writing so much comics history for the last four decades? Roy Thomas tells The Big ComicMix Broadcast all about it in an exclusive interview!

Meanwhile we’re covering more title changes at DC, MTV’S VIdeo Music Awards get remixed and we rundown of a bunch of new stuff on the web to look at if you get bored over your three-day weekend.

You have the day off, so PRESS THE BUTTON and let’s party down!

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GRAPHIC NOVEL REVIEW: Chance in Hell

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Chance in Hell is Gilbert Hernandez’s second stand-alone graphic novel, after Sloth. Like Sloth, it’s unconnected to his Love & Rockets work, but – unlike Sloth – it’s deeply metaphorical and difficult to follow. It’s set among unnamed people, living in unnamed places in an unspecified time, worrying about criminals with monikers but not names and slaughtering each other at whim. I’m afraid it’s all supposed to be an allegory for something, most likely the Iraq war, but I couldn’t quite bring that into focus.

The story takes place in three time periods in the life of one woman, but they’re not separated or otherwise marked as chapters; there are no captions at all. Our protagonist is called “the Empress,” and she’s the only person with a name – besides “the Babykiller,” whom is talked about but never shown – out of dozens in this graphic novel.

We meet the Empress as a young girl, living among people prone to extreme violence in a Mad Max-ian trash heap. Eight or ten unnamed male characters, mostly teenagers, fight over her, while two technicians try to maintain a fence around a large, dangerous piece of unspecified machinery. Empress is perhaps four or five, playing with a doll and not talking much. At the end of this scene, after much bloodshed, a man in a suit takes Empress away, with a promise to become her new “daddy.”

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COMICS LINKS: Gorey Tribbles

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Comics Links

Shaenon Garrity imagines what Edward Gorey’s adaptation of “The Trouble With Tribbles” might have been like.

The Beat takes a look at DC’s sales in July.

Comicon interviews James Kochalka, whose new children’s book Squirrely Grey has just been published.

Comicon also talks to Scott Shaw! about the rebirth of Captain Carrot.

The Wall Street Journal reports on Japan’s Ministry of Foreign Affairs, which is trying to use manga’s popularity in the West to improve Japan’s image.

Comic Book Resources interviews what looks like every person connected with the new Marvel Comics Presents series.

CBR also interviews Joe Casey about his new series Pilot Season: Velocity.

Comics Reviews

AppScout reviews the preview chapter of a new graphic novel, Shooting War.

Chris’s Invincible Super-Blog covers this week’s comics, starting with Avengers: The Initiative #5.

Graeme McMillan of The Savage Critics learns that Gene Simmons’s Dominatrix #1 is just as bad as he thought it would be.

Awards

According to Charles Stross, his novel Glasshouse has won the 2006 Prometheus Award, given by the Libertarian Futurist Society to the best Libertarian SF novel of the year.

SF/Fantasy Links

Tobias Buckell runs down a current SFWA kerfuffle: one particular officer is a bit extreme on fighting copyright infringement, and has demanded the website Scribd take down a whole bunch of things are aren’t actually infringements. (And here’s the original report from Cory Doctorow of Boing Boing.)

One more Worldcon report today, from Pat Cadigan.

Robert J. Sawyer walks the Great Wall of China – and takes pictures.

Commonwealth of Fantasy, you can rest easy tonight. The SF Diplomat is taking his ball and going home. (more…)

Happy anniversary, science fiction films!

Georges Méliès’s Le Voyage Danse La Lune (A Trip To The Moon) was released in Paris 105 years ago today — by any definition of the term, the first science fiction special effects summer spectacular. And now, through the magic of the internet, we bring it here to you.

Enjoy it before some bozo decides to remake it for Summer 2009.

Hugo, girls and guys!

hugoaward-3693461Yesterday in Japan, which I believe is today here, the Hugo Awards (which some of us jokingly refer to as the Eisners of science fiction) were handed out in the first-ever Asian-based World Con, Nippon 2007.  Congratulations to all the winners (see below), especially ComicMix friend Patrick Nielsen-Hayden!

Novel: Rainbow’s End by Vernor Vinge (Tor)

Novella: "A Billion Eves" by Robert Reed (Asimov’s, October/November 2006)

Novelette: "The Djinn’s Wife" by Ian McDonald (Asimov’s, July 2006)

Short Story: "Impossible Dreams" by Timothy Pratt (Asimov’s July 2006)

Non-fiction Book: James Tiptree, Jr.: The Double Life of Alice B. Sheldon edited by Julie Phillips (St. Martin’s Press)

Professional Editor: Patrick Nielsen Hayden (Tor Books)

Professional Artist: Donato Giancola

Dramatic Presentation: Pan’s Labyrinth Screenplay by Guillermo del Toro. Directed by Guillermo del Toro (Picturehouse)

Short Dramatic Presentation: Doctor Who "Girl in the Fireplace" Written by Steven Moffat. Directed by Euros Lyn (BBC Wales/BBC1)

Semiprozine: Locus, edited by Charles N. Brown, Kirsten Gong-Wong, & Liza Groen Trombi

Fanzine: Science Fiction Five-yearly edited by Lee Hoffman, Geri Sullivan & Randy Byers

Fan Writer: Dave Langford

Fan Artist: Frank Wu

Campbell Award: Naomi Novik

The full list of nominees can be found here.

MARTHA THOMASES: We Shall Not Be Moved

martha-thomases-100-5534225Unlike almost everyone else in Manhattan, my family doesn’t usually go away for Labor Day Weekend. Ten years ago, we went to Cape May for the week, but it was so much effort to drive home through the Lincoln Tunnel that any benefit derived from relaxing on the beach, playing ski-ball or bird-watching was burned up thoroughly on the drive back.

Now, we find it more relaxing to sit on our terrace and listen to the tide of traffic on Varick Street, backed up from the tunnel as people rush to their respite.

New York City, on these holiday weekends, is like the Bottle City of Kandor. The city seems built up tall and sparse, with an overcast of humidity and exhaust. Most of the people on the streets are tourists, who walk in the careful cadence of out-of-towners that infuriates those of us who live here all the time and have to get down the street right now because we’re very important people with very important business to take care of so stop gawking and get out of my way!

Ahem. Excuse me. Kandor probably doesn’t have this particular problem with tourists.

New York City in the summer is, as David Letterman once said, the city that makes its own gravy. It’s hot, and it’s humid, and the streets are lined by skyscrapers whose air-conditioning blasts hot air onto the sidewalks. The garbage on the sidewalk cooks in the heat. Different neighborhoods seem to have their own weather conditions: a wind always blowing through the canyon that is the Avenue of the Americas; Broadway in the Twenties is a Delhi street, with bargains and music blasting from the stores.

Central Park is an oasis within the oasis, making New York feel like a chocolate covered cherry of a city, with sticky green replacing the cherry. I imagine that Kandor feels like that, too, with the air recyled in the bottle for decades.

We have no Wal-Marts here. That’s another thing that makes New York feel like it’s separate from the rest of the country. The retail Goliath tried to open stores in the outer boroughs, but New York is a union town, and we weren’t having any of it. We know that “everyday low prices” aren’t free, but come at the cost of low wages, child labor and no health insurance. We’d rather pay a little more and have neighbors who can afford their rent. Also, have you ever been to Loehman’s, or Century 21? That’s a New Yorker’s idea of a bargain.

Unions are important to New York. We depend on them, and the people who belong to them. Teachers, fire fighters, police, sanitation – the city would stop without them. You would think that Labor Day in New York would be a glorious city holiday, with politicians courting endorsements, and dancing in the street.

It’s not like that. Labor Day means the end of summer, and the start of the fall season. The newspapers on Sunday are really thin, and the stories, written far in advance, are dull previews of upcoming movies, television, and theater, not real news.

Union members are like most other New Yorkers. They’re taking a break, at the shore or in the mountains, or in their backyards, tending to the grill. They know that on Tuesday they’ll be back on the job, and, for the most part, they’d rather spend their free time with their families than with politicians.

There was a Tuesday in September six years ago, a beautiful day with none of summer’s humidity. The fall season had started, and most of the tourists were gone. The kids were back in school, and the streets bustled with business. When the World Trade Center was attacked, it was these uniform services – the fire fighters, the police, the emergency medical technicians – who ran in to save their fellow citizens. It was these heroes who died by the hundreds, more than ten percent of the total lost that day.

For nearly a year, they were celebrated, as they deserved to be. A fireman who runs into a burning building to rescue a stranger is the very definition of a hero. In the months that followed, other union members, even those not employed by the city, were on the ground, digging out the rubble and inhaling poison smoke. They were heroes, too. I remember seeing a group of people on the West Side Highway, every day, waving flags and signs and cheering every truck that went downtown.

It was a bittersweet time in our bottle city. We mourned, and we bled, and we helped each other with our recovery. For a week or so, some of us even slowed down.

And then, the politicians decided we needed a war, and the fire fighters and police heroes New Yorkers (and others) admired were replaced with soldiers. Soldiers sacrifice at least as much as fire fighters, but they also kill people. It’s part of the job. Fire fighters don’t.

In Kandor, I imagine, they’re more like New Yorkers. They revere their civil servants. I bet Labor Day there is fun.

Martha Thomases, ComicMix Media Goddess, is a member of the National Writers Union.

Happy belated 55th birthday, Paul Reubens!

I actually was aware of Paul Reubens’s birthday this past Monday, August 27, but I didn’t really know what to say about it– I mean, we all know Pee-Wee Herman, readers of this site remember him in Batman Returns, Murphy Brown and You Don’t Know Jack, and we all remember the other stuff, but really, what was there to add?

Then I was reminded that he’s responsible for the Best. Death Scene. Evah.

Okay, so it’s probably the worst version out there. So sue me. Go rent Buffy The Vampire Slayer and watch it yourself.

 

It’s the New Groo Revue

groonew-4176520Twenty-five years, twenty number one issues, and five jokes. Yep, it can only be Groo The Wanderer. The one, the only, the only, the one — back in a silver anniversary special from Dark Horse, who clearly have too much money coming in from Star Wars and Buffy if they feel they can spend money on Aragonés and Evanier.

There’s a four-page preview up — if you’ve never seen it before, take a look and enjoy. See if you can spot the hidden message.

Artwork copyright Sergio Aragonés and possibly Mark Evanier, too. All Rights Reserved.

SFWA abuses the DMCA

Remember a while back when I said I supported John Scalzi over Michael Capobianco for president of SFWA, and that I might have to throw my hat into the ring as SFWA VP? Reactionary stuff like this from the new SFWA VP, Andrew Burt, is the reason why. Take it away, Cory Doctorow:

"The Science Fiction and Fantasy Writers of America has used the Digital Millennium Copyright Act to fraudulently remove numerous non-infringing works from Scribd, a site that allows the general public to share text files with one another in much the same way that Flickr allows its users to share pictures.

"Included in the takedown were: a junior high teacher’s bibliography of works that will excite children about reading sf, the back-catalog of a magazine called Ray Gun Revival, books by other authors who have never authorized SFWA to act on their behalf, such as Bruce Sterling, and my own Creative Commons-licensed novel, "Down and Out in the Magic Kingdom."

"The list of works to be removed was sent by "epiracy@sfwa.org" on August 17, described as works by Isaac Asimov and Robert Silverberg that had been uploaded without permission and were infringing on copyright. In a followup email on August 23, SFWA Vice President Andrew Burt noted that the August 17 list wasn’t "idle musing, but a DMCA notice." […]

"This implies that Robert Silverberg and the Asimov estate have asked SFWA to police their copyrights for them, but it’s important to note that many of the other authors whose work was listed in the August 17 email did not nominate SFWA to represent them. Indeed, I have told Vice President Burt on multiple occasions that he may not represent me as a rightsholder in negotiations with Amazon, and other electronic publishing venues.

"More importantly, many of the works that were listed in the takedown were written by the people who’d posted them to Scribd — these people have been maligned and harmed by SFWA, who have accused them of being copyright violators and have caused their material to be taken offline. These people made the mistake of talking about and promoting science fiction — by compiling a bibliography of good works to turn kids onto science fiction, by writing critical or personal essays that quoted science fiction novels, or by discussing science fiction. SFWA — whose business is to promote science fiction reading — has turned readers into collateral damage in a campaign to make Scribd change its upload procedures.

"Specifically, in the Aug 23 email, SFWA Vice President Andrew Burt demands that Scribd require its uploaders to swear on pain of perjury that the works they are uploading do not infringe copyright. SFWA has taken it upon itself to require legal oaths of people who want to publish any kind of thought, document, letter, jeremiad, story or rant on Scribd. Not just "pirates." Not just people writing about science fiction, or posting material by SFWA members — SFWA is asking that anyone writing anything for publication on Scribd take this oath of SFWA’s devising."

"Ironically, by sending a DMCA notice to Scribd, SFWA has perjured itself by swearing that every work on that list infringed a copyright that it represented. Since this is not the case, SFWA has exposed itself to tremendous legal liability. The DMCA grants copyright holders the power to demand the removal of works without showing any evidence that these works infringe copyright, a right that can amount to de facto censorship when exercised without due care or with malice. The courts have begun to recognize this, and there’s a burgeoning body of precedent for large judgements against careless, malicious or fraudulent DMCA notices — for example, Diebold was ordered to pay $150,000 125,000 for abusing the DMCA takedown process."

As the saying goes, read the whole thing. And the comments thread.