Wait for it....wait for it......

Apparently Doujicon was a bit dodgy.

(Pun!)

Nothing underhanded went of course, more so no one really went. Attendance was low, even though it was meant to be a good location. 131 people turned up - i'm not sure if that includes creators with tables.

Originally I was going to let loose with the snark.

How I would improve Doujicon?
Get rid of the pointless english letters in the title. Spell it out in Kanji. The title should be even MORE meaningless - that'll get the hardcore fans in!
The octopus as mascot isn't working. So replace him with something else - then have a vote to get the kids really involved on how to make it less lamer! I nominate a camel dressed as Snake Plissken!
Flyers and posters aren't antiquated enough in this Facebook world! Use town criers and morse code! Get someone to write and preform an opera!
Etc
Etc
(End Snark)

But while the title and mascot and promotion aren't working, to me there's a fundamental issue.

The same weekend there was AVCon in Adelaide, a anime/manga convention. About 1500 people turned up. I didn't go because i didn't know about it until after the fact.

Now on an Adelaide vs Melbourne scale; AvCon was 1000% better.

Its apples and oranges. They are two different events.

Avi thinks he's selling oranges but he's got apples. He really wants to sell oranges but its all apples.

The audience for Avcon is anime and manga fans.
The audience for Doujicon is people who like homemade comics (including manga).

Every uni has a Anime appreciation club, there's been magazines on J-Pop Culture, whole companies exist to sell manga and anime. The audience is big.

The audience for homemade/self published manga is a niche in a niche. All Avi had to do was figure out how many Oztaku's he had sold in Melbourne. That's the audience for Doujicon. Even though it had some really good work in it, its harsh to say, but Oztaku didn't have the readership nationwide to sustain itself. How can the same type of work sustain a convention?

Now here's a generalisation; Australian manga buyers are very picky. They want original manga - some of them go to the extent that they buy the japanese version without being able to read it or they'll go to the effort to learn japanese because the translated stuff is a slap against humanity. When fans complain about dubbed anime there is little chance they will stoop to buying a self-published manga comic by a non-japanese.

It's a shame when you consider the world's largest comic convention is Comiket, and its primarly self-published comics. Half a million people. Twice a year.

So there is a choice - either a long campaign to convince local manga fans that true manga fans like self-published work not that corporate owned kids stuff - just like Japan.
Or
Open the audience up to people who like originality and creativity; not just manga but all comics and zines and give it a new name and new direction (and trash the stupid childish mascot).

Why I hate Quentin Tarantino

Terribly embarrassing admission - I used to like Tarantino. I thought he was a maverick film maker - pushing boundaries. In my defence I was a film student, so it went with the territory.

I saw Reservior Dogs on the big screen (well it was at the Mercury Cinema so it was bigger than a TV). It was pretty awesome. The blood, the raw cruelty, the unhappy ending - it seemed so fresh. Seemed being the operative word. I had gotten into Hong Kong Cinema around the same time; the cover to the video (as in VHS) for John Woo's Killer advised it was the world's highest body count - so how could i not rent it? I got hooked.

While watching Ringo Lam's City on Fire it dawned on me; this is Reservoir Dogs but ....not. It was weird, essentially the same story but shot differently. It caused a slightly bitter taste in my mouth.

Pulp Fiction was good though, I saw that twice at the cinema. It still holds up.

But Jackie Brown - in what world is watching someone choose and buy a cassette for 20 minutes entertaining? Ugh. Kill Bill #1; shallow and empty. I didn't bother with #2.
And Death Proof is just indulgent rubbish.

The thing that really bothers me is that his films are just mash-ups of Quentin's favourite things. Homages are ok- they can bring some depth to a text, but plain old "stealing" concepts is a bit much. It just shows a lack of creativity or originality. Its all pastiche; glorifing empty cinema from the 70s but shooting it with 30 million dollar budgets.

Sure you can claim Warhol did the same thing; low art to high art but at least Warhol's work said something; on consumerism, on modernism. What does Kill Bill say - Quentin likes feet? That his audience would like recooked work as opposed to the originals? That there is nothing new under the sun? If you don't have pop cultural references in your movies that doesn't require a Google search you aren't an interesting writer?

Nostalgia was once seen as a sickness - something that kept us going forward, moving on. Move on Quentin, Move on.

Lots of photos of me

Even 6 months after the fact I'm still trying to figure why i find this so funny.

Care of Practice Catcus (NSFW)

Graphic Novel: the Pondering (Part 2)

Many years back I was at a Dymocks in a surburban shopping centre. It was late but I and Em were biding time until a movie started. I saw Moore and Campbell's From Hell on the shelves. Oh my God, acceptance! Comics are going mainstream baby!
I scanned the shelves for other Graphic Novels and found nothing else so i cornered a sales assistant and kind of pointed in the direction of From Hell.
"Have you got any other Graphic Novels?"
I may have looked a bit excited but she looked at me rather strangely, like she was trying to suss me out. I didnt' think to much of it, its that same look when people find out you read comics 'You? Really? Wow?'
"Um.... hang....on" and she darted away.
I continued scanning shelves for something new to read when the store manager walked up to me "um, have you read American Psycho?"
"huh?"
"That's pretty graphic"
Oh my God she thinks i'm some sort of sicko.
"Wha? No, no, no - graphic novels! Like From Hell" - which i grabbed of the shelf. She flicked through it
"Oooooooh comic books - we've got TinTin"
Oh my God she thinks i'm some sort of nerd.
I thanked her deflatedly for her help and slunk to the gardening corner to Em.
"I'm so embrrassed-"
"Aroused! You're aroused" she blurted.

And so ended the most embarrassing moment in my life.

So what are graphic novels and why are they so troublesome?

Looking within other mediums didn't really bring up answers to what a graphic novel could be - within other mediums, formats don't define anything; Harold and Kumar go to White Castle is still a movie at 88 minutes, like Lawrence of Arabia at 200minutes plus (too lazy to check actual runtimes). Sure there are novellas but the name makes sense 'Tiny novels' and I've never seen novellas marketted as a "novella" "just released a new novella!" like any comic book with a spine is bandied about with "Graphic novel".

But thinking about something like Harold and Kumar and Lawerence of Arabia started me thinking. I love both but there is something different.
Dude Where's my Car is a movie
Bicycle Thief is a film
Bad Boys 2 is a movie
Citizen Kane is a film

Its not a matter of quality, i like all the above titles; they are all good. Its not about source country, just because its foriegn doesn't mean its a film, Jackie Chan makes movies not films. Being old doesn't make it a film, Key Largo is a movie.

To me, movies are pieces of entertainment while films are peices of art that say something; there's more going on than just a plot. Films are subtextual or metatextual.

There's a similar concept with books; you go to a good bookstore and they'll be a Literature section and a Fiction section. There's art and then there's decoration.

Following this line of thought; comics are "superficial" and designed to entertain. Graphic Novels have something deeper going on - they carry a meaning outside of just have a plot. A graphc novel can be an 8 page story in an anthology or it can be a 32 book series released by Toykopop. If you can discuss the book without just rehashing the plot or talking about the art- then its a graphic novel. And I'd like something a bit more than "Spiderman is about the responsibility of power" especially when most Spiderman comics involve him hitting people.

Who decides what is a graphic novel and what's a comic book? Well for me its a 'wisdom of the crowd' scenario - i enough people say Blankets is a Graphic Novel and back this up with reasoning then it can be a graphic novel. If a creator just says their new comic is a graphic novel
or its publisher - I don't believe them.

I usually like my terms defined a bit better but i'm reasonably happy with this fuzzy and subjective definition because we can start talking about the books themselves instead of the silliness of the format.

Graphic Novel; the Pondering (Part i)

I consult on websites; information architecture, usability, accessibiliy, captology, etc, etc. Sometimes my work involves sitting in a group defining and discussing abstract concepts. During one meeting we were talking about improving our Document Management System; defining what a circular is, what a memo is, what a briefing is....when is a Policy a Policy and when is it a Guideline. It is more intreresting than it sounds (well to me anyway).

Well I ask "What's the difference between a factsheet and a manual?" and i got a incredulous stare in return "its the same difference between a comic book and graphic novel" (they had read Preacher and knew about Alan Moore).

"That's stupid!" I stammered.
"Graphic Novels are thicker with a spine"
"What! You have no..."
"oh there's other stuff like better paper"

I had already started to think about what is a graphic novel based on Anthony Woodward's post
Using format is a pointless exercise; that's more a defining medium thing.

There needs to be something else. The very smart chaps at Comicspot use the cute "Bookcomic" and "Comicbook", i think that's still very formatty but its not coming up with new terms to be wanky about. Something is either one or the other. Using Graphic Novel opens up to many terms of conjecture; what's graphic, what's novel. What about trade paperbacks (another format which is at least industry standard sizewise).

For me anyway - I like defining stuff. I like discussing stuff and you need to be able to define Film Noir if you are going to talk Film Noir. If you want an opinion on bebop jazz then you better know what bebop jazz is, otherwise you'll look foolish. And since i look foolish most of the time - i like to think stuff through and get my ideas straight.

The best point to start is compare it to other mediums. Do other mediums create these groupings based on its materials. Pretty much every medium uses genre; a comedy is a comedy no matter if you see it on the big screen, on dvd at home or have downloaded it to your iphone. A story told using sequential images can be essentially the same story if delivered in a serial comic, a compliation tradepaper back or if its on Wowio.

I say "can be essesntially"; serials need that regular catchup exposition, digital content can't be as detailed as printed material because the technology isn't as precise (72dpi vs 300dpi). But i would contend that the story is the same; just told differently. War and Peace the book tells the same story as the movie with Henry Fonda. Doctor Zhivargo has been told as a book, movie and made for TV miniseries and they all tell the story of a bloke in Russia.

The quality and success at telling that story though is totally up to debate.

What's been happening?

You know stuff.

• In april was the Third instantaneous gallery/Auction thing. Attendance was about half Instananeous II and it showed at the prices art was achieving. The most expensive piece sold for $300 which was about half what the most expensive piece sold in December.
• My own peice sold for $95, which as non-artist, makes me happy.



• Comikaze happened Queen's birthday weekend. i purposefully kept my fat head out of the way. Last year someone thanked me as an organiser and i didn't correct them. I felt like a massive asshole for claiming glory so this year i played it cool. Though the turn out was not as big as previous years, I think the quality was really strong.
• I read some incredibly good Austrlian comics. Some good Australian Comics, some decent Australian Comics and some truly horrible shitty Austrlian Comics. I feel rantings will ensue.


• During the same time, i accidently scratched my cornea which didn't heal. i kept putting off going to the doctor because surely my mutant healing abilities would kick in and fix the problem. Well two weeks of having a weeping eye that starting causing short stabbing pains when i blinked eventually made me go to the doctors.It seems it wouldn't heal because ever time i blinked the cut reopened. I then developed a secondary infection which meant stronger antibiotic drops and about 5 doctor visits. I had to wear a patch - and not a cool one either. It was 4 weeks of not being able to look at anything and focus properly. Not fun, Clarence.


• It seems like my anxieties and inability to relax properly have caught up with me and I've developed hypertension; which I think is a cool way of saying High Blood Pressure. I'm hyper tense!.




• I never really played video games obsessively but i got strangely addicted to Mario Kart.
• I have never liked Science fiction, it always seemed lame. But have started watching Battlestar Galactica and its pretty good (there was a couple of second season episodes that were lame and a really crap boxing episode is season three). Its like the West Wing but with explosions!




• I'm building outdoor furniture out of metal, stone and wood. Six weekends in and i regret starting.

Ahem.... tap tap tap

Its been about four months since I've blogged. Its been a mixed bag of being to busy to blog and not having anything to blog about. Though I'm going to try really hard to post something regularly.

I'll start slow....

Like i went to see the breeders play last night and beside the douche who decided to relive 1995 and start slam dance it was really solid gig. I also couldn't stop thinking the the Deal Sisters would be the perfect (ie hottest and coolest) tuckshop ladies at Rock 'n Roll Highschool.

A High School where Iggy Pop is the gym teacher, Thurston Moore teaches Calculus and David Bowie is Vice Principal.

Chicken Soup 2: Chicken walks on Water

by LFW and me, monday lunchtime







The "scripts" take about 2 minutes and are less than 25 words. LFW does the art in about 5 minutes.

The Chicken Soup is Magic; Jesus Style!

by LFW and me, friday arvo

Thanks for liberally smoking

Well, i don't smoke. I don't really care if others do, I worked with all types of vile gases and dusts so second hand smoke doesn't bother me. Well, actually I do care about stinking like shit the morning after going out, but I don't really go out anymore so its a moot point.

But I am sort of interested in the way the anti-smoking brigade has pretty much been ineffectual.

Warning labels on packets of smokes - dud
Graphic images on smoke packets - dud
Graphic ads on TV - dud
Lessons at school - dud

None have really seem to have made a great differnce.

I had the idea to do a comic with John Howard thanking smokers for their tax money. The original draft was first written 3 years ago with the intent to finally publish it on No Tobacco day, but since I never actually knew when that was (Its not in my Daily Dilbert Desk Calendar) it sat on my computer. Of course it would have been more powerful with Howard still in power, with Rudd as PM smokers can say "Yeah my smoking is helping do all the good stuff!"
But in my mind MY income tax and money from my groceries goes to education and hospitals, but SMOKER's cigarette taxes goes to pay the wages of Opposition backbenchers and overseas trips.

So a slightly redrafted two pager - Thankyou for liberally smoking

Mitsibushi Closes - navel gazing 380

From about 1989, when I was 14 to 1998 i spent various summers working as a Trades Assistant on various sites. I worked at a foundry and tyre factory and would end up dirty and sooty, coughing up black. I worked a snack food factory which seemed great at first, scooping up hot crisps and corn chips fresh from the fryer but you quickly realise you just ate 10 handfuls of warn unflavoured crap directly from a vat of boiling oil. Plus after crawling through A/C ducts cleaning filters you ended feeling greasy. Working labratories and private homes was ooookay but you had to be so tidy and careful that you spent too much time trying pussyfooting around you never got anything done.
My favourite was working at Mitsubishi - it was close to home (i could walk) and it was relatively comfortable and clean. I enjoyed decommissions - which entailed just taking shit apart - ripping through metal with a grinders and oxy torches, bashing stuff with hammers and pinch bars, destroying 30 tonnes of metal over a couple of weeks. It was more fun than having to lay 5km of pipework 6 metres above the ground or installing massive runs of duct work where the powers that be have it measured it out to the millimetre (with no gap for error) so you spend more time making (ie forcing) things fit than putting things together. Since i was the low man i had to do all the painting (which they always made me do once it was installed instead of beforehand), sealing with sticky-sticky sealant, sweeping (i was always careful not to turn my brain completely off because i feared i'd re-enact Turbo's Broom scene in Breakin') and generally carrying everyone's tools.

But i worked with some great guys; the welder who showed me how to plan out a job and get it done - skills i use in Project Management; the plumber who instilled a love of jazz; the electrician who's general good dispostion after 9 days of 8+ hour days was unfathomable but well appreciated. All guys who i still think fondly about and hope to catch up at some xmas reunion party.
It was good to work as a contractor in ever-changing groups, with all types of people in an effort to get a usually not fun job done. You learn patience, problem solving, keeping personalities from ripping each other apart. Like the guy who would periodically ask "When do you wink at a -insert racial epitaph here-?" and then make out he was looking down a rifle scope. He'd get a bit cranky if you'd finish the joke for him, so you'd have to put up with string of degoratory terms and then meekly laugh. There was the good natured speed-freak who had a new computer component every week which he would describe in great detail in an effort to impress (at this point i had no idea about computers - and some say still don't). There were the bikers (the anglo one who hated immigrants and his Maori mate) who invited me to Bikie events because they were doing security and it would be fun and then were surprised when i declined (i was 16).

The last summer i worked at Mitsubishi, i was the longest serving employee of the contracting company (tells you something about the company) and somehow that gave me the ability to provide Safety Talks that Mitsubishi now required all contractors to undertake. So I mumbled for 3 minutes stuff like 'don't run power leads over puddles', 'wear some type of glasses when using a grinder' 'wash your hands'. That summer i almost killed a group of electricians milling around a console when i dropped a sheet of corrogated iron (.9 x1.8m) from 3 stories up, it missed the group but gouged a nice gash into the cement floor. I skitted down asap and casually picked up the sheet "hey fellas, sure is hot ain't it? how about the cricket?". I believe a walk out was barely averted.

Well, yesterday was the last time those guys walked out. The factory is now closed after 40 years of producing cars. It seemed like a good place to work. The social club raised hundreds of thousands for charity. And simply in a world where things just seem to be made by faceless people somewhere else, it shows that regular people created a good car in good conditions. Its hard to comprehend that there are workers that have been there for 20, 30 years. Belonging to a generation that flits and skips positions at whims, its hard to understand the loyalty of wanting to work for one company for more than 10 years. Possibly more admirable is working in manufacturing for so long - the patience, fulfilment of doing essentially the same thing 48 weeks a year for so many years. And now its over, losing a job you like sucks, especially when that job gets cut from the company for financial reasons. Having to move on, knowing that you did nothing wrong, is hard to do.

Being one of the few factories in the southern suburbs i hope that something takes its place soon. But theres something reflective about watching those guys file out of the factory gates, opening their bags to be half-heartedly peered at by the security just like i had to do 10 years back, looking for the next job.

I couldn't car less

I sold my car couple weeks back and therefore I have no car to call my own. I've owned a car since i was 17 and was pretty much always dependent on them. Truthfully, i was always wary of people who didn't drive - especially those who didn't have their license. What were they afraid of? Fear of failing? What was stopping them? Realise, that this is Adelaide, a suburban sprawled city with a lame excuse for public transport - subsequently driving is necessity. This distrust was exacerbated by working and hanging around people who would sponge lifts, constantly.

My first car was an 1976 Alfa Romeo Alfetta GT, a beautiful looking car which could move - from the lights in was mediocre but once it got over 80km/hr it picked up and handled well. Only problem was that it was essentially a italian styled red hole that consumed more cash from my pocket than petrol (an amazing 13L per 100km, which is just crazy for 1.6L engine).
I sold that to a friend - who essentially did the same, did it up and then sold it for peanuts - and bought myself a brand new car; a Hyundai.

It was pedestrian and practical but once i started in the city it was barely driven. I was spending money on registration and insurance and barely doing 500km a year. I got the calculator out and did the mathematics and realised that with the needed new tires and service, plus petrol I'd be better off sticking with Public Transport or if need be using taxis. I could do one return taxi trip to the city, once a week and still be ahead financially.

So yeah, the car is gone and i have to think ahead when organising errands for myself. So I'll be sponging lifts off my friends soon.

Instantaneous 3 - Adelaide Comic Art Exhibition

I never did get around to posting an indepth look at the pieces in last year's second Instantaneous Comic Art Exhibition and Auction, held last December. It was a classy affair where 40-50 pieces of comic art, specifically individual panels, were displayed and auctioned with the money going to a soup kitchen charity.

Here's a recap from last year, I tried to get scans of the other pieces but wasn't able to but here is mine, which now proudly hangs above someone's bed. I bought this piece by Owen Heitmann, after eyeballing the competing bidder.


The text in the scan read "He awoke to the remnants of her breakfast and his perpetual melancholy."

It follows on the emo, minimalist shtick i started with my first piece; (3 white dots on a black background).

Which leads us to the next Instantaneous exhibition - pieces are due 21st of March at Pulp Fiction Comics but you needed to pre-register first. The exhibition will coincide with Free Comic Book Day, May 6.

The hardest part for me this year is that i need to figure out how not to draw 3 panels instead of just one, as the accompanying booklet places the panel in context.

Anyway there's more information at Pulp Fiction Comics.

On the Fringe at the Zine Fair

On Day 13 of the Heatwave that Melted Adelaide, the Fringe Zine Fair took place at on old industrial bakery in the middle of Adelaide. It was the first time it had been positioned in a dedicated area as opposed to the first two fairs where it was in a lane just off the main cafe strip.

This lead to the first observation, there were less passer-bys, less traffic BUT those who did turn up were interested enough in zines and DYI publications to make the effort.

I brought the full run of Sureshot Presents and my own VS; 10 copies of each and sold out of Doug's flipbook, sold out of Weber's Crab Allan book and sold 7 copies of VS. I expected the Guide to Australian Comics not to get to many sales - it sold 3 copies. What was most disappointing was Mandy Ord's book which i expected to be right up the alley for alternative hipsters and non-comic people. It grew cobwebs. I discovered that the Sticky stall had copies for sale but I didn't ask if they had sold any. I know that Mandy has sold at least 150 copies and we did a reprint (200 more for her) - I've sold about 130 and have 30 copies left. All in all I sold about half i would sell in a whole supanova weekend or at the first Doujicon which is ok since it cost me a train ticket and 5 hours of time.

I was joined by Owen Heitmann and EvilDan who also sold comics. Jing turned up later to steal my customers. Dan did well selling his Angry Comic Shop guy and Pretty Zombies; Owen did well selling other people's stuff. We left early because we are punk-rock like that (actually i had to scoot home to prepare dinner for 7).

It was a good and I'm feeling like publishing more stuff, so as always if you want to make money from your 32+ page self contained story, let me know

Adelaide Fringe Zine fair

For the realz culture, the Adelaide Fringe Zine fair is happening at the old Balfours factory on saturday.

I'll be there with the few Sureshots and VS i have left. Owen Heitman will be there and others. It will be cool AND hot.

Making a mark on the Marx Brothers

One day an artist chap popped up on my MSN looking for a script. I was surprised and greatly flattered because i am quite the fan of this Particular Creator and he is quite reticent to work with others.

I tossed out ideas; rock 'n roll porn, little riding hood modernisation, battling war tales. Like a little brother trying to impress his older sibling, i energetically made up nonsense hoping he'd play with me.

We discovered we had a common love; Marx Brothers.

I remember reading that Billy Wilder was going to direct a film; A Day at the UN staring the Marx Brothers and always thought it would be cool to write an imaginary comic adaption interspersed with biographical details.

But this idea was much much bigger than the 6 pages this creator wanted to spend drawing. So i had the idea of a self-contained old school trailer with cheesy narration, on-set interviewing and then a slam of quick jokes. And interspersed with biographical snippets.

The hard thing is getting the humour correct - not just repeating jokes from the other movies. I'm not sure I've succeeded that well - especially the physical humor of Harpo.

I wrote the first 5 pages while i was stuck at a beach house on Kangaroo Island, hours away from anything. Being an earlier riser, I'd type away (instead of fishing like the other insomniac). That wrote easily. The last 3 were hard, doing slapstick is tricky and that took me 2 months of pondering.

This is a second draft, so there will be spelling mistakes and grammatical hiccups.

Anyway, please enjoy my imagined adaption of the Marx Brothers in A Day at the UN.

5 shades of Dino - how Dean Martin made me feel happier.

Late last year I got hit with the melancholy. Probably because of the suckiness of work, family infecting me with their madness and a general loss of direction (I need to do stuff; like build cellars, publish magazines or learn something new otherwise I feel a bit pointless).

I started listening to Dean Martin. Compulsively.

Martin came to prominence as Jerry Lewis’ straight man. And I loved Jerry Lewis as a kid. I remember every Sunday afternoon they’d play a Lewis movie, but only if I behaved in church – such was the power of my parents; act up in church they’d make sure Jerry Lewis (or as I said it apparently – “jer-wee woo-wis”) wouldn’t be on. So I’d tune out for an hour and a bit while the chubby priest prattled on in Slovenian backed by a tone deaf choir whose age averaged medieval, in the end learning a great patience.

At first it was all about the Jerry, but as I got older i noticed it was Martin that really carried the films. Jerry by himself was way to hammy, throwing up every slapstick trick and seeing what would stick. Martin gave the flicks a certain cool, some structure. In Hollywood and Bust (which I may have seen more than Star Wars) Martin hated Lewis, but you can’t tell. That's kind of cool.

So in my funk I’d gravitate to certain songs, which slowly become less and less depressing.

You belong to me

Just remember when a dream appears
You belong to meI'
ll be so alone without you
Maybe you'll be lonesome too and blue

At the time, Em was flying around to Sydney, making work trips to Mt Gambier, Whyalla so the song did kind of strike a cord. What’s interesting is that originally it was a female torch song; you can imagine it being sung to boyfriends and husbands going off to fight the war. But with Martin singing it sometime in the late 50s it brings in a new resonance – women strengthened during the war, boarding planes and leaving their traditional roles of housewives to see the world while their partners mournfully miss them. In my mind I picture a curly haired Ava Gardner type journalist, camera slung over her shoulder searching for the next big scoop, visiting beautiful exotic locales and meeting interesting people, while Martin is stuck at home hoping his girl doesn’t forget him. It’s all rather hopeless and depressing.

(Of course I don’t feel really comfortable with “You belong to me” so i prefer to mumble “You’re the one for me” in tune, of course.)

Little ole Wine Drinker Me -


And when they ask who's the fool in the corner,
Crying

Travelling a little bit away from dumpsville but still within city limits, Martin is broken hearted, far from home, his only consolation is drinking wine, which I think is probably the saddest alcohol. Some will say bourbon, but nope; wine is cheap, easy to drink and no hungover is as bad as a one from 3 bottles of cheap red wine. But it is a nice way to suffer.
Except for wine and a working jukebox, Dino’s got nothing going for him; but when you consider the old adage of wine, women and song – two out of three ain’t too bad.

Houston

Nobody calls me freind,

Its sad the shape I'm in

Going back to Houston
Houston
Houston
I Got a girl waiting out for me
Well at least she said she'd be

Dean Martin loved Country music, apparently. He even played a cowboy in one of the best traditional Westerns ever. Though in this video he's bit more Roy Rogers than John Wayne. Houston is about a down on his luck guy just wanting to get to Houston. Its pretty depressing but there’s some life, a bit of hope that his girl might be waiting there for him, but in the least he's got a home and bed. Its got some clever lyrics and is kind of funny, especially when compared to the other ‘funny’ western song; Not Enough Indians which is archaic and misogynistic.

Open the door and let the good times in -


Don't let nothing stand in your way
Just open up the door and let the good times in
Tomorrow's gonna be better than today

What I appreciate about this song is the production, not so much in the video but in the Capitol Records (or Columbia) audio release. A lot of Dean Martin songs from the late 50s - early 60s have these awful back up singers that all sound like cloned fat bald men, or blonde stepford wives; their only job is to repeat the lyrics in unnerving perfect harmony. Its frustrating in something like Standing on the corner, to have this barber shop quartet echoing the lyrics; washing the tomcat out of the lyrics making it into something homogenous and safe. This song though has this great party mood, even though its about a poor, hungry smoker who’s girlfriend is fooling around on him and has discovered rodents have drunk all his alcohol – essentially a miserable existence there's this great unbridled hope and joy. You can't help but smile.

On an evening in Roma -


Down each avenue or via, street or strata
You can see 'em disappearing two by two
On an evening in Roma
Do they take 'em for espresso
Yeah, I guess so
On each lover's arm a girl
I wish I knew
On an evening in Roma

Finally, away from the blues; far from the sad drunk who’s woman has left him; the poor jobless stooge far from home – this is an ode to being with the one you love. Even cheekily wondering what those couples are getting up to as they slip away. I sway from being a francophile to an italophile (???) but I hear this song and I’m Marcello riding my vespa on cobbled streets on my way to meet my senorina, dodging hanging laundry hoping no one will notice the melted chocolate gelato on my suit.

Don't know what the country's coming to
But in Rome do as the Romans do

Makes decisions so much easier.

Waldo's Hawaiian Holiday in the Press

Gestalt Publishing is releasing a Graphic Novel sequel to Repo Man and its recieved some ink in EW and on the Cinematical blog

It looks pretty exciting

Dave de Vries: Comic Maker, Decision Maker, Movie Maker

I read in the Advertiser yesterday an article on 'amateur' film makers and one of the film makers featured was Councillor Dave De Vries, best known for Southern Squadron and the Phantom mini (Marvel), he also did a good Green Lantern Annual and Black Lighting series.

Well he's making a short film.

Comic comic podcast #1

The second podcast by David Blumenstien and Ben Hutchings is up. Most interestingly is the talk about selling comics to shops. In my web consulting and writing for the web training I've started using Pareto Principle; Pareto was an early 20th century economist who discovered that 80% of the wealth of Italy was held by 20% of the population. Since then its been used as a rule of thumb - i use it to say 20% of an organisation's business responsibility is needed by 80% of the community so websites need to reflect that 20%; all other content is non-core and a waste of time. The Pareto Principle is also used in sales; that 80% of sales come from 20% of your customers. That's not to say that individuals are buying multiple copies. When i think of customers, I think of either comic shops or venues where i sell the book like zine fairs and conventions. And at first with Ozcomics Magazine and Sureshot Presents I'd chase every sale (moreso with the Magazine); deal with multiple shops selling 1-5 copies in each shop except for 3 shops which would order 20+ copies consistently. At first I'd thought that the shops that had smaller orders would grow but they didn't so i stopped bothering.

Now I'm thinking that I might just deal with Adelaide, cons and fairs - my cut is bigger and i sell more with less hassle.

On a related note the guys also talk about writing to an audience, this was brought up at Pulp Faction as well. I'm in the commercial camp; i think that you need to consider your audience and write for them. I always find the people who say "You write/create for yourself" to be essentially wankers. They either suffer egos so large the believe themselves to be more important than the audience (who essentially pay them) or people with no confidence in their skills so when their work doesn't "succeed" (however they define success) they counter with "I wrote it for myself (so it doesn't matter what other people thought of it)". I think its more important to be happy with what you create, to be proud of it otherwise you are just hacking for a wage (not that there is anything wrong with that; many plumbers, nurses and taxi drivers are doing what they do to put food on the table - they have no pretension about it). So i'm in the mind that it should be "You make sure you are happy with your work".

I think the Comic show at the Melbourne comedy festival is a great idea and is a billion times better outreach program than anything else i've seen; FCBD, cons).

Another good show.

And the Stan Lee