Monday, March 20, 2017

U.S.A.! U.S.A.! vol. 101

Steve 

Bannon's 

Sad, 

Desperate 

Crusade

NERRRRRRRRD! vol. 60

A Message from Liz Wrightson

It is with great sorrow that I must announce the passing of my beloved husband, Bernie. We thank you for all the years of love and support. His obituary is below:
After a long battle with brain cancer, legendary artist Bernie Wrightson has passed away.
Bernie “Berni” Wrightson (born October 27, 1948, Baltimore, Maryland, USA) was an American artist known for his horror illustrations and comic books. He received training in art from reading comics, particularly those of EC, as well as through a correspondence course from the Famous Artists School. In 1966, Wrightson began working for The Baltimore Sun newspaper as an illustrator. The following year, after meeting artist Frank Frazetta at a comic-book convention in New York City, he was inspired to produce his own stories. In 1968, he showed copies of his sequential art to DC Comics editor Dick Giordano and was given a freelance assignment. Wrightson began spelling his name “Berni” in his professional work to distinguish himself from an Olympic diver named Bernie Wrightson, but later restored the final E to his name.
His first professional comic work appeared in House of Mystery #179 in 1968. He continued to work on a variety of mystery and anthology titles for both DC and its principal rival, Marvel Comics. In 1971, with writer Len Wein, Wrightson co-created the muck creature Swamp Thing for DC. He also co-created Destiny, later to become famous in the work of Neil Gaiman. By 1974 he had left DC to work at Warren Publishing who were publishing black-and-white horror-comics magazines. There he produced a series of original work as well as adaptations of stories by H. P. Lovecraft and Edgar Allan Poe. In 1975, Wrightson joined with fellow artists Jeff Jones, Michael Kaluta, and Barry Windsor-Smith to form “The Studio,” a shared loft in Manhattan where the group would pursue creative products outside the constraints of comic book commercialism. Though he continued to produce sequential art, Wrightson at this time began producing artwork for numerous posters, prints, calendars, and coloring books.
Wrightson spent seven years drawing approximately 50 detailed pen-and-ink illustrations to accompany an edition of Mary Shelley’s novel Frankenstein, which the artist considers among his most personal work. Wrightson drew the poster for the Stephen King-penned horror film Creepshow, as well as illustrating the comic book adaptation of the film. This led to several other collaborations with King, including illustrations for the novella “Cycle of the Werewolf,” the restored edition of King’s apocalyptic horror epic, “The Stand,” and art for the hardcover editions of “From a Buick 8” and “Dark Tower V.” Wrightson has contributed album covers for a number of bands, including Meat Loaf. The “Captain Sternn” segment of the animated film Heavy Metal is based on the character created by Wrightson for his award-winning short comic series of the same name.
Characters he worked on included Spiderman, Batman and The Punisher, and he provided painted covers for the DC comics Nevermore and Toe Tags, among many others. Recent works include Frankenstein Alive Alive, Dead She Said , the Ghoul and Doc Macabre (IDW Publishing) all co-created with esteemed horror author Steve Niles, and several print/poster/sketchbooks series produced by Nakatomi.
As a conceptual artist, Bernie worked on many movies, particularly in the horror genre: well-known films include Ghostbusters, The Faculty, Galaxy Quest, Spiderman, and George Romero’s Land of the Dead, and Frank Darabont’s Stephen King film The Mist.
Bernie lived in Austin, Texas with his wife Liz and two corgis – Mortimer and Maximillian. In addition to his wife, he is survived by two sons, John and Jeffrey, one stepson, Thomas Adamson, and countless friends and fans. A celebration of his life is planned for later this year.

Tuesday, March 14, 2017

Negation Aspiration vol. 48

Radioactive Boars in Fukushima Thwart Residents’ Plans to Return Home

We Are The Sprocket Holes vol. 236 / Negation Aspiration vol. 47

A millionaire, his meth addiction and the horror movie 15 years in the making


A recent item in the Hollywood Reporter laid out the whole extraordinary account, a bizarre showbiz footnote that’s part cautionary tale and part inspiring DIY triumph. Andrew Rork Getty, scion of the Getty oil dynasty, set out on a quixotic journey in 2002: he’d drafted the script for a horror film based loosely on a series of nightmares he’d personally had, and intended on using as much of his own fortune as necessary to bring it to life. Never one to let a little thing like inexperience stop him, Getty rounded up a crew of actors with no idea what they were getting into and dove into shooting on what was then titled The Storyteller. Production ultimately stretched out over the course of five years, progressing in fits and starts as Getty devised elaborate custom camera rigs, pricy original sets and, in one instance, a large animatronic octopus designed to play a drum kit.
After he called a wrap on shooting, Getty continued to obsess over perfecting each and every frame of this labor of love. He converted one of his mansion’s many rooms into a post-production suite, where he spent untold years on intricate in-camera special-effects techniques. Producer Michael Luceri estimates Getty’s personal expenditure on the movie somewhere in the neighborhood of $5m, a figure that left the heir in financial ruin. His story came to a tragic end in 2015, when he died at age 47 from a hemorrhaging ulcer brought on by a long history of recreational meth usage. He wouldn’t live to see the completion of his life’s work, but his absolute, unmatched devotion to the project shines through in the now-available finished cut.

Negation Aspiration vol. 46

LAKE OF BLOOD: German Teen Turns Himself In For ‘Dark Web’ Murders


Wednesday, March 8, 2017

Awwww Yeah vol. 57 (Happy Wimmins Day!)

Camille Paglia Predicted 2017

What the ’90s provocateur understands about the Trump era.
BY