It's a Good Life If You Don't Weaken

Seth's "It's a Good Life, If You Don't Weaken"

Just exactly where did this expression come from?

I ran across the phrase while reading Graham Greene's 1938 novel Brighton Rock, and it fired my synapses into memory recall mode because there's a "picture-novella" by Seth called It's a Good Life, If You Don't Weaken (about the author's search to find comics by fictional cartoonist  "Kalo," who in turn was based on real New Yorker gag cartoonist Peter Arno) and a song by the Canadian indie-rock band Tragically Hip.

Watch "It's a Good Life If You Don't Weaken."


But then I found out it was also the name of cartoonist Gene Byrnes (1889-1974)'s syndicated strip for the New York Evening Telegram, which ran from 1915 to 1919 and featured his kid creations, the "Reg'lar fellows." It apparently became a rallying cry for American soldiers during World War I. For his part, Seth said his mother used the phrase when he was growing up and even dedicated his graphic novella "to my mother Violet, from whom I often heard the title of this book."

Gene Byrnes "Reg'lar Fellows"

Queen's Hungarian Rhapsody

Last night, Amy and I met up with Dave Wright, Ceil Strachna and Dave's buddy Jim to watch the limited run big screen debut of the concert film Queen - Hungarian Rhapsody: Live in Budapest '86  at the Landmark Theater in Baltimore's Harbor East.

Despite the surprisingly sparse turnout (15 people? Are there that few Queen fans around town?), I'm glad we went because seeing Queen at the top of their game on the big screen  in beautiful remastered high definition and 5.1 surround sound, and in a concert film previously unreleased to theatres (Though master collector Dave Wright had an old VHS copy, of course!) was...well, fantastic!

It was kind of weird sitting in a near-empty theater to watch stadium-rockers Queen perform before a teeming, enthusiastic audience of some 80,000 Hungarians, to whom this concert was a big deal. Here's how the Landmark web site described the historic event:

On July 27, 1986, Queen performed the largest-ever stadium concert at the Népstadion in Budapest in front of 80,000 ecstatic fans. The concert was part of the famed Magic Tour, which was the last time the band toured with lead singer Freddie Mercury. Now, this original concert film has been remastered in high definition and features many of Queen's favorite tracks—"Bohemian Rhapsody," "Crazy Little Thing Called Love," "I Want To Break Free" and "We Are The Champions." In addition, this special cinema event is introduced by a documentary feature that gives the inside track on events leading up to the Budapest concert. With three years to go before the fall of the Berlin Wall, this was the first Western rock concert performed in a stadium behind the then Iron Curtain. It was of such significance to the Hungarian authorities and film industry that a group of the country's top film cameramen and technicians were brought together to film it for posterity. Using archive footage from rehearsals, interviews with the band and on the road during the Magic Tour—some of which has never been seen before—this fascinating intro feature has been specially created for cinema release.

Yes, indeed. Though this screening included a 25-minute introductory documentary about the '86 tour, it was shot on grainy video and Amy said she had seen bits of it turn up in other Queen documentaries. But the actual concert footage itself featured state-of-the-art film cinematography by an all-Hungarian camera crew. I can't recall ever seeing more crisp and colorful photography in a concert film. I forgot to look at the credit listings, but I'm pretty sure this was shot on 35mm film, and it once again shows the difference between film and video (no matter how high-def it gets). Film adds another dimension that video can never eclipse.

Unfortunately, it also offered clear high-def views of something I never need to see again - specifically, Queen bassist John Deacon in those ridiculous "hot pants!" (Good thing Brian May didn't also sport some - not with his long spider legs!):

Deacon likes short shorts!

OK, a little backstory exposition now...

Amy and Dave are Queen fanatics and on Amy's advice, I purchased tickets online well in advance of the limited screening (Thursday, September 20 @ 7:30 p.m.; Sunday, September 22 @ 2 p.m.; and Thursday, September 27 @ 7:30 p.m.) - both of us thinking that the opening night would be packed with area Queen devotees. The ticket sight even advised getting to the venue 30-40 minutes before the 7:30 p.m. screening time to insure that we could be seated together.

Boy were they wrong!

Amy met me at work at 5 and we drove straight down to the Landmark Theaters, parked, and ate a delicious curry chicken and pork dinner at the Manchurian Rice Company around the corner. In the spirit of the evening, Amy wore her London map necklace (from Mud and Metal?) and her Queen Innuendo Tour jacket.

Amy isn't subtle with her "Innuendo"

Amy is a loyal royal for Queen!

We were in the Landmark Theater lobby by 6:45. Which was empty.

After validating my parking ticket, I ventured down towards the theater and saw only two people in the hall.

"Are you here for the Queen movie?" I asked a young couple.

"Yup!" the girl replied.

"Where is everybody? I though we had to get here early to beat the rush!"

We both had quizzical looks.

Later, Dave, Ceil and Jim showed up. When we finally entered the theater a little before 7:30, there were maybe 6 people there, including the young couple - who were seated in the closest seats front and center.

"Damn!" I cried, looking at them, "You got the seats we wanted - I knew we should have gotten here earlier!"

We laughed at the absurdity of the sparse crowd. All told, maybe 15 people showed up, including a backrow contingent of partiers who came in with popcorn and wine bottles. But hey, a small crowd also showed up for that legendary 1976 Sex Pistols show at the Lesser Free Trade Hall in Manchester, but virtually every fan in that audience went up to form a punk or postpunk band like Joy Division, The Fall, Simply Red, Buzzcocks, The Smiths, New Order, Magazine, etc.

Opening night "crowd" for Queen's "Hungarian Rhapsody": The Few, The Proud!

So there, Queen-apathetic Baltimore! Tonight's gathering were few in number but gigantic in spirit and heart!

On a final, sad coda: we left trying to remember when exactly Queen frontman extraordinaire Freddie Mercury passed away. It was November 24, 1991. Hard to imagine that this charismatic, energetic showman - gallivanting around stage, bursting with life, enjoying the roar of the European crowd - would be dead in 5 years. But he lives on and is forever young like the music and legacy of Queen, thanks to films like this. No time for losers, for he - and they - are champions of the world in Hungarian Rhapsody.

Watch the "Hungarian Rhapsody" trailer.

Poe Bus Tour with David Keltz

Poe Bus Tour
Saturday, October 6 @ 2 p.m.
Annabel Lee Tavern
601 S. Clinton Street

I know it's still a ways off, but wanted to spread the word that my Poe-tastic friend David Keltz will be presenting a Poe Bus Tour as Edgar Allan Poe (and no one does Poe better!) on Saturday, October 6, 2012. The bus leaves the Annabel Lee Tavern (how perfect is that?) at 2 p.m. and returns at 4 p.m. During the tour, David/EAP will lead the way on a motorcycle as the bus circles the important sites in Poe's life and passes the very streets where he walked. As Ken Kesey said, you're either on the bus or you're not - so hop on and enjoy the ride!

You can get tickets at Brown Paper Tickets.

Dan Clowes Visits Atomic Books

Atomic Books

Friday, September 14
5-7 p.m.


Tom Warner (L) and Dan Clowes (R, striking Dave Cawleyesque pose)
(photo by Amy Linthicum)

Daniel Clowes (rhymes with "ploughs") is my favorite modern cartoonist. He's also, along with Charles Schulz, the cartoonist whose characters I most relate to (we are all Charlie Brown to some extent; some of us, present company included, are also Pig-Pens!). He's also one of the most successful graduates of the 1990s "alternative" comics revolution - a period highlighted by such classic comics and graphic novels as the Hernandez brothers' Love and Rockets, Adrian Tomine's Optic Nerve, Ivan Brunetti's Schizo, Peter Bagge's Hate, Chester Brown's Yummy Fur, Chris Ware's Acme Novelty Library, and Charles Burns's Black Hole - one whose frequent New Yorker cover illustrations, best-selling graphic novels (Wilson, Ghost World, The Death-Ray), stylish CD and DVD cover art (Las Vegas Grind Vol. 4, the Criterion Collection's Sam Fuller films The Naked Kiss and Shock Corridor), and award-winning movie adaptations (Ghost World, Art School Confidential) attest to his high profile status in the mainstream of American Pop Culture.

So when I heard that the Farrago from Chicago was in town last week for a September 14th book-signing at Atomic Books - promoting The Art of Daniel Clowes: Modern Cartoonist (edited by Alvin Buenaventura, the "man of few words" who accompanied Clowes at the event and brought neato rubber stamps with which to stamp copies of his book), the first monograph to comprehensively examine his life and amazing 25-year career as cartoonist, screenwriter and social critic - I felt compelled to head to Hampden to press the flesh with the man whose Eightball comic (Fantagraphic Books, 1989-2004) so perfectly skewered the essence of everything I hated about '90s hipster culture (much as Peter Bagge's Hate satirized the whole Seattle slacker-grunge scene). In a word, Clowes "got it." And his perspective was vicious - if not as bleak as Brunetti's Schizo! His shit list included art school poseurs, peaceniks, hippies, fashionistas, crybabies, whiners, and "sensitive people."

For me, Eightball will always remain Clowes legacy masterwork, even as I continue to enjoy his later graphic novels. It provided most of the stories in Caricature: Nine Stories and Twentieth Century Eightball and was the DNA from which the graphic novels Like a Velvet Glove Cast in Iron, Ghost World, Pussey!, David Boring, Ice Haven and The Death-Ray were spawned.


Eightball: Signs point to brilliance.

I must admit I couldn't afford to buy a copy of The Art of Daniel Clowes (cheapskate me got a library copy!), but it's certainly on my 2012 Christmas list. There are insightful essays on Clowes by Susan Miller, Ken Parille, Ray Pride, fellow alterna artist Chris Ware, and the great Chip Kidd (Bat-Manga! The Secret History of Batman in Japan), as well as Kristine McKenna's revealing 2011 interview with the cartoonist. I learned, for example, that hippie-hating Clowes (see: "Hippypants and Peace Bear in Question Authority") was a big Dragnet fan, like me.


Hippypants and Peace Bear

"I related with incredible intensity to Jack Webb, probably because he was this no-nonsense guy," he confessed to Kristine McKenna when talking about his largely unsupervised childhood, in which his parents divorced early, his stepfather died when he was seven, and his older hippie brother was out of the house by the time Clowes was eight. "The whole hippie thing really creeped me out as a kid because it was chaotic, and it brought chaos into my life. I'd be in my room trying to draw Spider-Man comics and some naked hippie would walk by my door to get a towel in the bathroom. My brother's friends would be walking all over smoking dope, and there would be drugs deals going on. I didn't know how messed up some of it was until much later, but even then, I knew something was wrong."


"Hey hippie, it's reality calling!" says Jack Webb, a no nonsense kinda guy.

Visually, I really enjoyed Clowes sharing his childhood photo albums, drawings and family holiday cards with editor Buenaventura; seeing pics of young Dan dressed as Batman and his crayon drawings of his beloved Spider-Man reveals a lot about where he was coming from and where he was headed. I mean, isn't The Death-Ray just Clowes's modern existential take on the superhero comics (especially Spider-Man, right down to Death-Ray's costume) that so influenced his childhood? (In a 2011 interview with Flavorwire's Kathleen Masura, Clowes explained why he gravitated towards Peter Parker's arachnid superhero as a child: "As a kid you look at Clark Kent who's still a big jock with glasses and think, 'I don’t relate to him at all.' But the original Spider-Man was really 120 pounds and a total loser, and I was so inspired by that.")

Many other Clowes fans were in attendance at the Atomic Books soiree, including Atomic Books founder Scott "Unpainted" Huffines, Enoch Pratt librarian and "Film Talks" programmer Marc "Clean &" Sober and, rumor has it, otaku Clowes fan Dave Cawley. Scott knew Clowes from his Atomic Books reign (1992-2000) and had a long conversation reminiscing and updating him on his current status. And, as a former alternative bookstore owner, Scott had a bagful of cool memorabilia for Clowes to sign, from Enid Coleslaw dolls to a Lloyd Lewelyn poster.

Scott Huffines catches up with Daniel Clowes

During his face time with Clowes, film fanatic Marc Sober asked if George Roy's Hill's 1964 film comedy The World of Henry Orient was one of the inspirations for the Ghost World. In Hill's film (which was based on the novel by Nora Johnson), two teenage private-school girls - Valerie Boyd (Tippy Walker of Peyton Place) and Marian Gilbert (Merrie Spaeth) - stalk concert pianist Henry Orient (Peter Sellers) and write their fantasies about him in a diary. If it sounds very Rebecca and Enid Coleslaw traipsing around after sad-sack middle-aged geek Seymour (Steve Buscemi) it is. Clowes not only confirmed the connection, but said he insisted that a poster of Henry Orient appear in Terry Zwigoff's film adaptation of his Oscar-nominated screenplay (even though it meant paying a pretty penny in clearance!). Look for the poster hanging in Enid (Thora Birch)'s bedroom.



Marc Sober knows everything, even that Nora Johnson's novel was based on real-life pianist-actor-raconteur Oscar Levant, whose name in French means "orient." Go Marc!

For my part, I got Clowes to sign my copy of Wilson, the graphic novel character I must relate to. And I thanked him for turning me on to Todd Graham's Apocalypse Pooh (1987), an audio-visual mashup of Winnie the Pooh and Apocalypse Now that I learned about because of an ad in the back of Eightball #3. Graham is now credited by many as the Godfather of the Video Mashup.


"Apocalypse Pooh" video box cover

"Ha," Clowes laughed. "That was in the days before the Internet!" Indeed, it was the days when you learned about things by hunting them down in books, magazines, and comics. And when video mashups like Apocalypse Pooh were only available on clunky VHS tapes with lotsa color-saturation bleed from analog duplication. (I actually like those days - analogy technology was the primordial ooze from which Scott Huffines and I begat the low-res videoscramble known as Atomic TV!)

I'm still making my way through The Art of Daniel Clowes, so I'll stop here without further ado.

I leave you with a strip from Twentieth Century Eightball that beautifully encapsulates the spirit of Eightball and the "balanced cynicism" of Clowes's worldview, a view I share.

Eightball: The Mission Statement


In the last three panels, Clowes's character says:

"Sure, in many ways life is horrible. But we must never forget that there are beautiful, sweet-natured 22-year-old girls who are bursting with love and who would rather read than watch television...



Also there is beautiful art and music and a small handful of like-minded indivuals with whom to share your time...and those with a black sense of humor are never at a loss for amusement.

There is work to be done, history to be made, petty ego triumphs to be had...and what's more, love does exist and is indeed a beautiful thing!"

That about sums up the spirit behind the art of Daniel Clowes, modern cartoonist.



Related Links:
Daniel Clowes's Official web site