Would you like to be a cartoonist like me?
You can’t. Sorry. Not even if you paid me to train you. It won’t happen.
From 1992 to 1995, I worked in the music store on the upper level of the Savannah Mall. Disc Jockey was the other music store, on the lower level and the opposite end. Our respective locations affected our clientele; we were next to the upscale department store, and they were next to the parking lot.
Of course there was a rivalry.
Despite what you might think, it was friendly. We all ate in the same food court, and used the same deposit chute. If a customer stumped our staff, we’d begrudgingly call downstairs and ask their staff. Sometimes one store knew something the other didn’t. Upcoming trends in music, promotions, closings, and firings within the busy mall.
Long ago, in the Before Times, I was dating a woman with a very young daughter. I had not yet gelled as an artistic entity, and was in the process of learning that I’m really not cut out to be a father, even a surrogate one. This became apparent on two occasions. Both were attempts on my part to make a connection with a kid. Both failed hilariously.
The first was the purchase of a “children’s book”. I spent hours at Books-A-Million (down the block from Media Play) hunting for just the right one. It had to be colorful, clever, and not condescending. I refused to buy anything “kiddie”, on principle. It had to be something that enticed, thrilled, and sparked the imagination, like the books I read in my grade school library.
If I could go back in time 20 years, and tell my 24-year-old self that I’d be signing my own comics at Criminal Records in Atlanta’s Little 5 Points, I wouldn’t believe it. Mostly because at 24 I was incredulous about the feasibility of time travel.
I’ve guested at comic conventions before, but this was Criminal Records. They’ve had an almost mythical status since the 1990s, and their old location (it’s now Stratosphere Skateboards, another local business I highly recommend), which I visited often even before I lived here. It had cartoons drawn on the walls by Skip Williamson, Evan Dorkin and Bob Burden, just to name a few. I want to say Patty Leidy was up there too, but I’m going on memory here. Continue reading
A time slot on a major cable network is both a blessing and a curse. On the one hand, you couldn’t ask for a larger audience. On the other, you’re the property of the company store, and you bend to their whim.
For example, MTV aired Beavis & Butthead, but to pad out the episodes to sitcom-length, they inserted music videos with Mike Judge doing commentary in character. At the time, I could appreciate the necessity of this, being that ink-and-paint animation takes time to create. Still, it was obvious that the idea was cribbed from MST3K, and much of the music was unlistenable, or not worth the mockery.
MTV pulled the same jazz when they aired the extraordinary sock-puppet comedy The Sifl and Olly Show, from 1997 to 1999.
Videodrome, my local video store, often features used DVDs at clearance prices. There was a copy of Mike Judge’s Extract for $3. I’m a huge fan of Judge’s film and television, so I Netflixed Extract upon its release, and truthfully, I was underwhelmed. But a friend who also enthuses upon Mike Judge loved it, and $3 was just right to give it another chance.
“I didn’t really get this one,” the clerk said as he rang up my purchase, “and I love his other stuff.” I told him a theory I’d read that Office Space was for the workers, and Extract was for the bosses, reflecting Judge’s ascent in the studio system. I also noted that Idiocracy was an impossible act to follow, and that it wasn’t well-received upon its (delayed) debut. I figured if I remained ambivalent about Extract, I could gift it to my friend.
After watching Extract for the second time, I decided to keep it. Continue reading
In 1997, electronica duo The Chemical Brothers released their second album, Dig Your Own Hole. It went on to be an extremely popular example of “big beat” music, and is included in numerous “Best Albums of All-Time” lists. I had a copy of the CD in my old car for so long the case turned into shardy shit.
Le temps détruit tout; time destroys all things. People, corporations, empires; everything eventually must yield to the Great Abyss. Immortality only exists within the perception of us mortals, meaning, there is no immortality for anything but mountains and tardigrades. We all die, alone and afraid.
Music is a celebration of the immediate present. Musicians agitate the air molecules and create “living” sound. Live audiences receive these vibrations, and are stimulated. This is why recordings seldom deliver the experience that live performances do, and why some dudes have to blast their music loud enough to drive everyone in earshot insane.
From 1991 to 1995, the animated femme fatale Æon Flux appeared on MTV (of all places), at first in shorts that appeared on the variety program Liquid Television. She was created by Korean animator Peter Chung, storyboard artist for Transformers: The Movie (1986), and veteran of cartoon shows like Rugrats and Ring Raiders.