Kom til signering af den nye store nordiske tegneserieantologi KOLOR KLIMAX — Nordic Comics Now på fredag d. 25 november i tegneseriebutikken Fantask, Skt. Pedersstræde 18, København, kl. 16-19. Mød tegnerne Peter Kielland, Johan F. Krarup, Mårdøn Smet og Thomas Thorhauge, der alle har bidraget til bogen, samt undertegnede, der har redigeret den.
Monthly Archive for November, 2011
As mentioned here previously, last Thursday saw the Danish sneak release of the Nordic comics anthology KOLOR KLIMAX (to be released in the US and internationally by Fantagraphics Books in March). It was a fine evening; lots of Copenhagen comics folk turned out. Here are some photos hastily snapped at idle moments. Enjoy!
Same day saw a fine review by Bart Beaty, published at Comics Reporter. I was happy to see that he noticed not only some of the consolidated talents, but some relatively new ones, Johan F. Krarup and Mikkel Damsbo/Gitte Broeng, who I also think contributed really outstanding pieces to the book. Here’s a pull quote from Bart:
“Ultimately, there is no way not to recommend Kolor Klimax. It showcases a wide range of extremely talented cartoonists, and will open your eyes to a whole world of comics that get far too little attention. Something to anticipate for Spring.”
As I was writing this, my wife went into labor. Our child arrived nine days earlier than expected. It may have been the bass. I’m lost for words, except to say that publishing this, in a sense, is the best way for me to mark here at the Bunker this singular event in our lives.
Attended two great concerts this weekend, both featuring key players in the independent hip hop movement of the early naughts. Sole, formerly of Anticon, performed at Stengade 30, alone with a laptop, on Friday, while the Rhymesayers collective (featuring Greives and Budo, Blueprint, Brother Ali, Evidence, and Atmosphere) ended their European tour at Store Vega this night.
Attending these shows in such close succession recalled for me that very special moment in hip hop in the early naughts when the genre was expanding in so many different directions at once, seeing white suburbia embrace it on an artistic level theretofore unknown outside the inner cities and with an entirely new set of sensibilites. It seemed then, suddenly, that the sky was the limit for the art form. Eminem was only the most visible exponent of a watershed in hip hop that ran the gamut from his confessional hardcore to the hermetic abstractions of Anticon.
Atmosphere were at the center of this, defining a midwestern hip hop sound on the balance between boom bap and breaking form, while Anticon created an avant-garde within the avant-garde with their heady lyrics, abstract flows and arrythmic production.
Problem was it kind of ebbed. Only a few of the innovators of these years have kept up the steam they were building from grains of salt in those years. They foundered and lost their way as they got older and life became more complex, and as hip hop once again shifted in character and its prime innovations increasingly came southern fried.
Atmosphere are one of the few exceptions to the rule. They have continued to grow, releasing music that reflect their age and experience, and they still rock a show like few others in hip hop. Although we sadly lost their early associate, the insanely gifted Eyedea, last year, they continue to surround themselves with solid talent. Brother Ali, a born stage performer if a somewhat weak songsmith, tends to steal the show as did he this night, but Blueprint and the new Rhymesayers signee Evidence (of Dilated Peoples) held their own too.
Sole, who left Anticon last year and currently resides in Colorado has had a more difficult time of it, but then his artistry has always been grounded in personal difficulty, and he has kept releasing some high quality music, much of it under the collaborative moniker Sole and The Skyrider Band. He has become more politically aware, less introspective, but has also lost some of the personal nerve that made his first two albums, Bottle of Humans and Selling Live Water, classics. His barebones setup on Friday in no way impeded an intense performance which at times seemed defiant assertion that his approach to hip hop, an approach that has all but been eclipsed today, is still a vibrant alternative.
Yesterday saw the passing of golden age hip hop MC Heavy D, “The Overweight Lover,” at the too-early age of 44. Best know to the world at large as the man who spat the nimble rap verse on Michael Jackson’s “Jam” (1992), he was an important figure in 80 and early 90s hip hop whose substantial contribution is perhaps a little overlooked today.
Musically, his greatest contribution was arguably helping define the so-called ‘new jack swing’ sound along with producer Teddy Riley — the amped-up fusion of hip hop and r’n'b that ruled the airwaves through most of the nineties and eventually won over even Mr. Jackson himself. While this synthetic, slightly facile vein of pop music hasn’t dated all that well, however, the Hevster’s emceeing sounds as fresh today as ever. Continue reading ‘Heavy D RIP’
The Tintin movie makes good on the promise of not disgracing its august comics source. Spielberg is a pro and he delivers what he does best — a sense of adventure and possibility and a sufficiently sensitive approach to his film technology that his characters come alive despite the mo-cap plastic feel. The rewrite of the books (mainly The Secret of the Unicorn and The Crab with the Golden Claws) is well thought out and most of the characters are well realized, with good voice performances all round. The personal, slightly brooding and troubled subtext of Hergé’s work pretty much gets lost in the mix, but hey — this is a popcorn movie and a pretty good one.
Spielberg hits a couple of false notes. Continue reading ‘The Author’s Face?’