Good Ol' Fashioned Internets Justice

So this kid Kenny Glenn (in a ski mask) punches and abuses a cat on-camera, posts it on YouTube, gets his identity found out by enterprising Internet users. Somebody starts a website with his name on it that posts all his personal contact information (including that of his family).

Here are the questions:

Are you cool with posting personal info like that on the web with the purpose of harassing someone who has committed a heinous act?

Are you normally not cool with doing such a thing (because of due process, etc), but the kid seemed like a creep anditwasadefenselesscatforgodssake, so just this one time you will look the other way on it?

Would you be less cool about posting the info if there was no video-tape in the Kenny Glenn case, but only testimony from an eyewitness, etc? Did the videotape "sell" this case to you?

Would you be ok about posting the identifying information of registered sex offenders --not just having a list of names, but having one web page for each person, completely "outing" them? And contact info on their families, if they were harboring the offender?

If somebody said something racist, sexist, or homophobic on YouTube, would you be ok with posting all their personal information on a website so people could harass them?

If you disagreed with somebody strongly on political issues, would you be ok with posting their contact information on the Internet, under the theory that it might embarrass them and cause them to rethink their position (or just be a lot more "underground about it")?

Do you think Kenny Glenn or a member of his family might get possibly physically hurt by the posting of this public information?

Do you think that what Kenny Glenn was so heinous that only "Internet Justice" could ever really punish him? Or do you feel that there is never a call to post anybody's personal info online for the purpose of harassment?

Hey, that movie critic Glenn Kenny must be having a great week, huh? (I almost totally wrote his name instead of Kenny Glenn in this post).

My only opinions on this issue is that it was truly a horrific beating for the cat on the Kenny Glenn video, and also that the way the 14-year-old hit and yelled at the cat strongly resembled something he possibly observed an adult do -- and I hope, in the investigation, that angle will be explored (as I'm pretty sure it will be, with psych evaluations etc.).

Please Google the referenced site and video to find out more.

Glyph Comics Awards Nominees Named

THE 2009 GLYPH COMICS AWARDS NOMINEES ARE NAMED; THE FAN AWARD POLL IS OPEN

Now in its fourth successful year, the Glyph Comics Awards (GCA) continue to honor the best in black comics and creators. Many new faces are among this year’s nominees, as well as some old familiar ones.

The nominees for 2009 are:

Story of the Year
Bayou, Jeremy Love, writer and artist
Incognegro; Mat Johnson, writer, Warren Pleece, artist
Justice League of America: The Second Coming; Dwayne McDuffie, writer, Ed Benes, artist
Pilot Season: Genius, Marc Bernardin & Adam Freeman, writers, Afua Richardson, artist
Presidential Material: Barack Obama; Jeff Mariotte, writer, Tom Morgan, artist

Best Writer
Marc Bernardin & Adam Freeman, Genius
Mat Johnson, Incognegro
Jeremy Love, Bayou
Jeff Mariotte, Presidential Material: Barack Obama
Dwayne McDuffie, Justice League of America

Best Artist
Jamal Igle, Supergirl
Jeremy Love, Bayou
Warren Pleece, Incognegro
Afua Richardson, Pilot Season: Genius
Larry Stroman, Black Panther Annual #1

Best Male Character
Black Lightning, Final Crisis: Submit; Grant Morrison, writer, Matthew Clark, Norm Rapmund, Rob Hunter & Don Ho, artists; created by Tony Isabella & Trevor von Eeden
Black Panther, Black Panther Annual #1; Reginald Hudlin, writer, Larry Stroman & Ken Lashley, artists; created by Stan Lee & Jack Kirby
Lwanga Moses, Unknown Soldier; Joshua Dysart, writer, Alberto Ponticelli, artist; inspired by the character created by Robert Kanigher and Joe Kubert
The Spectre, Final Crisis: Revelations; Greg Rucka, writer, Philip Tan, Jeff de los Santos & Jonathan Glapion, artists; inspired by the character created by Jerry Siegel & Bernard Bailey
Zane Pinchback, Incognegro; created by Mat Johnson, writer, and Warren Pleece, artist

Best Female Character
Destiny Ajaye, Pilot Season: Genius; created by Marc Bernardin & Adam Freeman, writers, Afua Richardson, artist
Lee Wagstaff, Bayou; created by Jeremy Love, writer and artist
Storm, X-Men: Worlds Apart; Christopher Yost, writer, Diogenes Neves, artist; created by Len Wein & Dave Cockrum
Vielle, Fungus Grotto; created by Shatia Hamilton, writer and artist
Vixen, Vixen: Return of the Lion; G. Willow Wilson, writer, Cafu, artist; created by Gerry Conway & Bob Oksner

Rising Star Award
Jennifer Crute, Jennifer’s Journal
Damian Duffy & John Jennings, The Hole: Consumer Culture
Charlie Goubile, Blackbird
Starline X. Hodge, Candi
Ashley Woods, Millennia War

Best Reprint Collection
Aya of Yop City, Drawn & Quarterly
Me and the Devil Blues V1, Del Rey
Nat Turner HC, Abrams

Best Cover
Final Crisis: Submit, Matthew Clark & Norm Rapmund, artists; Richard & Tonya Horie, colors
The Hole: Consumer Culture; John Jennings, illustrator
Pilot Season: Genius, Afua Richardson, illustrator
Unknown Soldier #1, Igor Kordey, illustrator
Vixen: Return of the Lion #1; Josh Middleton, illustrator

Best Comic Strip
Bayou, Jeremy Love, writer and artist
Café con Leche; Charlos Gary, writer and artist
Fungus Grotto, Shatia Hamilton, writer and art ist
“Jefferson Jacks” from Crankshaft; Tom Batiuk & Tony Isabella, writers, Chuck Ayers, artist
The K Chronicles, Keith Knight, writer and artist

Fan Award for Best Comic
Iron Man: Director of SHIELD #33-35; Christos Gage, writer, Sean Chen & Sandu Florea, artists
Pilot0ASeason: Genius; Marc Bernardin & Adam Freeman, writers, Afua Richardson, artist
Presidential Material: Barack Obama; Jeff Mariotte, writer, Tom Morgan, artist
Vixen: Return of the Lion; G. Willow Wilson, writer, Cafu, artist
Young Avengers Presents #1; Ed Brubaker, writer, Paco Medina, artist

The judges for the 2009 competition are: Valerie D’Orazio, president, Friends of Lulu; Mathan Erhardt, writer, Comics Nexus; Ed Mathews, columnist, Pop Image; Tim O’Shea, writer/interviewer, TalkingWithTim.com; and Elayne Riggs, comics reviewer and commentator.

The ballot for the Fan Award for Best Comic is now open at the website for the East Coast Black Age of Comics Convention (ECBACC), www.ecbacc.com/wordpress, and will remain open through March 31, 2009. Write-in selections can be e-mailed to GCA Committee Chair Rich Watson at rich.watson@gmail.com. IMPORTANT: Write-in selections are ONLY for choices not on the online ballot. ANY WRITE-IN SELECTIONS FOR CHOICES ALREADY ON THE ONLINE BALLOT WILL NOT BE COUNTED AND WILL BE DISCARDED.

The 2009 GCA ceremony will be held May 15, 2009, in the Skyline Room of the Free Library of Philadelphia, Park Central branch, as part of ECBACC, which will take place at the Crown Plaza Philadelphia Center City, May 16, 2009.

How The Mainstream Media Gets Its Groove Back

"I get email. Some of them ask for cartoons. Like this one:

I wish to add your cartoon to a Powerpoint presentation.

OK. I write back:

Hey, that's great that you would like to use my cartoon. My fee is $20 per image, per presentation. I accept Paypal and credit cards.

Oops. That's not at all what this person had in mind:

Unfortunately I shall not use your cartoon if it means paying for it. I thought I would just try and do things by the copyright book. Thanks anyway."

-- cartoonist Mike Lynch

We seem to be turning into a society of "free" media. Music, movies, comics, news -- we are increasingly expecting to get these things, via Internet, for free. Like webcomics. I can't picture an arrangement in which significant masses of people pay for webcomics -- unless you got the best 2% of all webcomics on one site. Other than that, I don't see people dropping money for them, unless they make donations. It's not about quality. It's just that people expect to get these things for free. We've been trained this way.

Some say that advertising revenue will make the money. I am telling you from experience within the online media industry -- unless you have a HUGELY popular site/blog/content, you will not be able to support a company on this revenue. Hell, even Facebook is having problems doing this.

Then there is the idea that loyal fans of a webcomic or site will send in enough donations to support it. I believe that can happen, but can you support your family on it? Maybe, maybe not. Still not a solution for a media company.

Then there is the selling of hard-copies and various memorabilia. And/or utilizing the intellectual property in your free webcomic to inspire ventures in other media. These are awesome things. If they happen.

But what can the various traditional media outlets out there do as an overall game plan? What can the freelance cartoonist/comic book person do? How do you make money? Real money? Game-plan sort of money? Health insurance sort of money? Raising a child sort of money? Saving for retirement sort of money? Supporting five floors of employees sort of money?

Yes, it looks like the switch is on from paper to digital. But are people willing to pay for this digital media? For the most part -- no. People are not willing to pay for it, unless you give them a damn good reason to.

Damn Good Reasons To:

1) If I was DC or Marvel (or any other media company), I'd pinpoint what the top 5% webcomics are. Offer those web cartoonists competitive exclusive distribution deals that includes a health insurance component. Then make a subscription-based site offset by sales of hard copies and merchandise.

2) Want to compete with Wikipedia with a subscription-based model? Have a damn good online encyclopedia/reference center, with the top names in academics, punditry, etc. Stress the authoritativeness of your reference site. If I was giving advice to a company like Time Warner, News Corp, Microsoft, etc on how to make this model work, this authoritative aspect would have to be stressed -- because it's the only real selling point they would have versus a free model.

3) Authoritative vs. "Amateur" is the general crux of the mainstream media companies's (and professional writers's/cartoonists's/artists's) bid for pay-based content. It is the only way. I'm not defining "amateur." I'm not saying looking at things with this dichotomy is "right." I'm just playing devil's advocate and trending this out. Look at all the media you consume online -- news, TV, comics, blogs, etc. Now, figure out how much would you actually pay for if you had to.

4) The media companies are going to push "Authoritative" vs. "Amateur" within two years. Look for an all-out assault on the authority of blogs that are not connected with one media group or another. Look for the top-of-the-top independent blogs to get bought up by media companies. Look for an all-out assault on the credibility of Wikipedia.

5) Important point: in order for this plan by mainstream media to work, it is crucial that most of the popular webcomics, blogs, sites, news sources, social networks, services, etc be absorbed into the corporation. That may all sound as scary as shit. But it's likely that it's the way things are going to go down. The fire under everybody's asses in this economy will help it along.

6) And of course there is the whole net neutrality thingie-wingie. Look for the corporations to help move this along, to their advantage. Look for cable TV-like "packages" of web content that you pay for monthly.

Within five years, I think everything I've just wrote will come to pass. I'm not saying it's right. I'm not saying it will or will not encourage creativity. I'm just saying this is likely the scenario. And if the mainstream media does not start thinking along these lines, or if they think they can survive long-term by providing nothing but free online content (when the market for paper shrinks more every day), they will collapse. And then we will be more a nation of independent contractors, mini-media moguls. Micro-payments, donations, T-shirts. Which may or may not be better.

And please don't think that when I talk about the best blogs being bought up by corporations, I think I should be on that list. I'm realistic. Believe me, if I have thought through this topic to the extent I have on this post, I have seen what my "place" is in this overall landscape. To keep the personal OS blog, sure. But I do not think this blog -- in its current form -- has the broad (excuse pun) appeal to be useful to a big media concern.

Now, the Occasional Superheroine character itself might -- and if I choose to do more with that, something good might come out of it. And I think I can transfer my blogging skills to a blog with more of a broad reach -- either by spearheading it or working behind-the-scenes.

The OS is not journalism. The OS is just a doorway to talk to you all. And that's enough.

But the idea of the mid-level to low-level blog on a certain topic that will GENERATE TONS OF AD REVENUE and so forth -- no.

The idea of a web-based concern that has lots of overhead but is generating no income but one day it will sometime in the future -- no.

Me, I'm looking into taking some solid journalism courses and brushing up on my grammar. Because in order to compete in online media within two years, that's what you're going to need.

***Comments now closed to prevent the inevitable pissing match that I don't have the time for. If you don't agree with me, fine. I'm totally okay with us meeting up in two years -- hell, ONE year -- and compare notes. I look forward to it.

Watchmen: Not A Movie, But "A Miracle"

Quotes from Time Magazine's Nerd World blog regarding an advance screening of the film:

"Sitting in that screening room and watching the visual world of the Watchmen movie unfold was one of the most powerful experiences I've ever had. Not film experiences. Just EXPERIENCES."


"What will people who've never read Watchmen even think of this film? What will it be like for them to sit through these crazy, violent, colorful three hours and not recognize almost every line – almost every image? Will they be utterly baffled, bored, or totally love it? Is Watchmen even a good or bad movie? I have no idea."



"For me, Watchmen isn't a movie at all. It's a miracle the likes of which my 14-year-old self would never have believed."

Jason Slashes Coraline

I will preface this by saying that though I'm a bit of a horror movie buff, I have never sat through an entire "Friday the 13th" movie. I sat through a part of the original first movie, and was impressed with how much it had a flat, "porn" feel (I'm not saying that this was bad, as I realize that was part of the 1980s slasher-flick charm). (By "flat porn feel," I am not referring to nudity but a sort of shallowness that is only punctuated by sudden moments of horror, much as a porn movie is hollow but is punctuated by sudden moments of sex). (Furthermore, I feel that John Carpenter does the "flat porn feel" better -- or daresay, he is a complete master of this technique -- and much prefer to watch his horror movies, which are usually either really good or crappy but enjoyable in a B movie sort of way).

I have also never sat through"Coraline," as the tickets were sold out yesterday and, since I was in the area, decided to go get a haircut instead.

Everyone loves dog movies.

Eyebrows raised at how huge the opening was for "Friday 13th," and how low "Coraline's" was in comparison. This might be a retread of the "Marley & Me"/"Spirit" scenario.

What up with all of this?

I am told over and over again that it is the mass-market "broad idea" movies, TV shows, comics, and concepts that win over big. I am also told this in Robert McKee's "Story," one of the classic "how to write" books. McKee says basically that if you would like to make a living writing movies, make them with a broad appeal and do not get too esoteric. Also, that it is okay if you want to make your films esoteric & intellectual, but then perhaps get another job to supplement your meager income from your niche writing.

That said, I have no idea if the new "Friday the 13th" movie is broad in appeal or instead maybe quite intellectual. If I had to guess, I would say that the flick is probably in league with the "Texas Chainsaw Massacre" remake, which was enjoyable, extremely gory, but not incredibly profound -- sort of forgettable, except for its "set piece" moments of exaggerated violence.

Will "Watchmen" be the next "Dark Knight" or "Mystery Men"?

Which is all to say, in a roundabout way...what does this bode for "Watchmen"? Is the general moviegoing public not in the mood for something arty, profound, obtuse...dare I say, even "cubist?" Will this film be a big hit with the fan set, but not with the general masses? Or is this assuming too much about the film? Will it be styled in such a way so that it will have the same broad appeal as "Friday the 13th part 15"?

Also -- if these comic book/"fan appeal" movies do not have mass appeal, should we care at all? Should we not just enjoy the films anyway, secure in knowing that even if films like "Speed Racer" & "The Spirit" sort of tank, at least the cool kids understood and appreciated them? Like when I would read a short story in my high-school creative writing class about existentialist rabbits on LSD and most of the class didn't understand it but I got two really enthusiastic fans? Will these two fans grow up to be the ones who will buy by $300 limited edition maquette of LSD Bunny from Sideshow toys -- and be vocally abusive online to my detractors? Can I only hope?

Speed Racer: A Movie For All The Cool Kids

(A side point refers to a conversation I had with a friend a couple of days ago: questioning whether Watchmen was a good "gateway" comic book for the new reader, or did it just skewer the idea of mainstream superheroes and make it actually harder for him or her to get into Superman, Spider-Man, etc? Or even turned some of those new readers off to graphic novels, comic books, everything?)

This all reminds me of a great post David Cross wrote after his movie "Alvin and the Chipmunks" came out. In it, he defends his appearance in a movie that might be looked down upon as mass-market piffle by some of his fans:

"I like to work. I really do."

Anyway, I have no set opinions on any of these important issues being raised here thereupon. I'm just throwing ideas out there, like foam darts. As for my haircut yesterday, it is only by writing this post that I realize what might have unconsciously influenced my choice of hairstyle:


Well, anyway. I haveta go write my "Confessions of A Shopaholic"-style pitch now. See you soon!

Grindhouse Style Fox Ad For Dollhouse and Terminator

What do you think of this Grindhouse-inspired ad for the Fox TV shows Dollhouse & Terminator: The Sarah Connor Chronicles? Are they fun? Do they misrepresent the shows themselves?
Seems very 1970s/Wonder Woman to me.

Play "Fantasy DC EIC" and Redo The DCU!

This is like Fantasy Baseball, but instead of pretending to play a professional sport, you pretend to be the new Editor-In-Chief of the DC Universe.

You come in to the job, and are given carte blanche to totally rearrange the DCU as you see fit. Among your powers:
1. Killing characters and/or bringing them back from the dead.
2. Canceling titles.
3. Starting new titles.
4. Creating events.
5. Hiring talent and editorial.
6. Offering exclusives.
7. Steering the "direction" of characters and books.
8. Creating special projects (movie tie-ins, new initiatives, etc).

You have an awesome responsibility in front of you. Choose wisely and fairly. And play nice...remember, any decisions you make will have repercussions.

Speaking of "Suicide Girls"...

"In trying to make the book more about Ollie and Dinah and their relationship, we came up with a female super-villain who is in love with Ollie and is also insane."

Sassy Assy: The Power Of Great Branding

Let me make it clear that I have no particular interest in the particular entity that is Sassy Assy. None. This post is not about Sassy Assy per se. It's about the power of advertising and great branding.

Ask me what I remember about New York Comic Con this year, and two things immediately come to mind. The first is the giant George Costanza head on the banner across from the High Moon/Night Owls booth. I used that head repeatedly as a landmark to find the booth.

The second thing I remember about NYCC: Sassy Assy.

What a great name. I don't even mean that in a sarcastic way. Sassy Assy is a memorable name. It stood out. It rhymes. To call it "clever" might be stretching it too far. But it's catchy. It's Sassy Assy.

I initially assumed that Sassy Assy was an actual person, a Tila Tequila type personality. But actually, Sassy Assy is the name of a line of clothing shops. Representing the clothing shops are the Sassy Assy Models. Or maybe that's the other way around. The branding, while memorable, didn't initially make that clear. To be a Sassy Assy is like to be a Suicide Girl but without the drama. Oh, maybe there is still drama, but it's upbeat. The women dress like schoolgirls, but they're happy schoolgirls.

But that isn't the point. The point is -- their advertising worked. And not even the cheesecake elements on the banner, which I totally didn't remember. It was the name. The name got stuck in my brain. And, despite myself, I still remember it: Sassy Assy.

When coming up with the name for your website, comic book, or other venture, remember the lesson of Sassy Assy. Now, their name was a bit risque, but they're selling risque. But whatever you are selling, think of how to make it catchy. Maybe this will involve a giant George Costanza head. Maybe rhyming will be involved. But whatever the case -- be remembered. Stand out from the crowd.

Now, there is the separate issue of whether a lingerie/stripper shoes/sexy schoolgirl outfits store should be at NYCC anyway. Who is to say if the ren faire corsets are acceptable and the skin-tight Brazilian jeans are not. That's not for me to judge. Maybe next year I'll use my connections and import Brazilian jeans and sell them at a table at New York Comic Con. Mini-comics and Brazilian jeans. It might work.

Occasional Links: Mad Ideas, Watchmen, Star Trek, more

Current Internet-meme-du-jour, Carl Winslow.

Was this Dilbert cartoon from 2005 yet another Nostradamus-type prediction for our current financial crisis?


Steven Grant on Grant Morrison & Final Crisis:

"Anyway, at this point the one remaining major comics writer who has consistently clung to and through his work championed the cause of mad ideas is Grant Morrison, who packed FINAL CRISIS with more mad ideas per square inch than virtually all other "mad ideas" comics combined. Many of them are brilliant, in their context. But as I mentioned last week, it hits such a density it becomes a virtual black hole of mad ideas, with such a gravitational pull that story can barely escape it, and then only the edges of the story are visible. Story in FINAL CRISIS isn't story, as traditionally understood in western literature, and certainly not in comics; it's the event horizon of mad ideas."

Joss Whedon says there will be no Dark Horse comic book tie-in for his new TV show Dollhouse:

"You know, the science fiction of this is much more fiction than science. Ultimately it’s actors acting differently, which is not that - Something you really need to see drawn. There is, however, CSI comic books. So I guess everything could be a comic book. But I don’t feel it lends itself in the same way that my other fictions have."

Take a look at Donald Duck's Family Tree.



Would Alan Moore be cool about this Watchmen video game?

"I'm not going to spoil it for those of you who haven't read the graphic novel, but I can at least say that while Watchmen was all about miserable people dealing with their own personal crises, the game wisely takes place before the events of the book."

Oy.


Eddie Izzard set to appear in Day Of The Triffids remake for the BBC...with Jason Priestley and Brian Cox! Awesomeness!


CBS is streaming classic Star Trek (that's SHATNER TREK to you, none of that Picardo stuff) in HD on their website. Episodes include Turnabout Intruder, The Trouble With Tribbles, and Mirror, Mirror.

Just to show that fan discontent transcends just comics, pro wrestling fan takes the WWE to task and tells them to Stop The Crap. An interesting point made in the post?

"Want some free promotion? Get with the times. Allow us to embed your videos!"

A look at JLA T-shirts through the ages, with a focus on Firestorm. Found on the Firestorm Fan site, of course.
Finally, this Los Angeles promotional video from the 90s gives me hemorrhoids...and not in a good way!

I love the stuttering video effects in this. Made me want to smack that drink right out of Jack Wagner's hand.

Great Underrated Artists I Like: Tom Grummett

From the upcoming X-Men Forever

To be clear, I was not always a big Tom Grummett fan. As someone caught up in the hyper-stylized 90s, Grummett's illustrations seemed sort of retro. Sort of...normal-looking. But he has become one of the great underrated comic book artists to me, and looking back on his body of work I have a newfound appreciation for it.


I even followed his run on Titans in the early 90s. Never appreciated his expressive art and clear, sharp storytelling. Kept looking for tiny noses, stress lines, and no feet.


Now, is this a matter of getting older and having developing tastes? I think the art of someone like Tom Grummett is a universal. It's good storytelling. I can dive right into it. And I think he has drawn the iconic Superboy for me.


I read this old post once that questioned Marvel's exclusive with Grummett. The idea was that his work was "boring." Why would Marvel make exclusive a "boring" artist?

Artists like Grummett produce beautifully rendered pages with great storytelling on time. Maybe you have to have been editor to appreciate this, I don't know. Is it a matter of an editor being "lazy" and turning to him for a project? No, it's an editor wanting a professional artist who can turn around a good looking book that also makes sense visually. I could name (but I'm not) 3 or 4 books out now off the top of my head that would immediately benefit from having Grummett on it. Books that would suddenly make sense story-telling wise. Books that would stop looking ugly/wonky. And books that would not give the editor agita schedule-wise.

I mean, god bless Rob Liefeld and the rest, but these aren't the mainstream superhero artists whose work I track down nowadays. Now, I track down John Byrne, Bob McLeod, John Buscema, Sal Buscema, Norm Breyfogle.


Anyway, that's my two cents on it. Didn't appreciate his art when I was younger, now I go seek it out on purpose. I'd pass up the cover to the original X-Force #1 for an iconic Superboy shot any day.

What New Comics Are You Buying This Week?

As always, here's a list of the comic books I plan to buy today. You can reference a list of all the comics and related schtuff coming out today right here.

ADAM LEGEND OF BLUE MARVEL #4 (OF 5)

AMAZING SPIDER-MAN #586

CAPTAIN BRITAIN AND MI 13 #10

PATSY WALKER HELLCAT #5

THOR #600*

WONDERFUL WIZARD OF OZ #3 (OF 8)

X-INFERNUS #3 (OF 4)

What are you all buying? Any suggestions?

*yeah, this wacky numbering thing throws me for a loop every time

Shepard Fairey: Plagiarism Or Art?

I would think many artists use photo or other types of reference at some time or another. It's pretty standard.

But what happens when you have a case like Shepard Fairey's Obama poster -- where not only was extensive referencing of an Associated Press photo used, but the poster itself becomes an international phenomenon?

Is it plagiarism or art? Is it fair use? Did Fairey "transform" the image enough to the point where it has become a separate entity? If he makes money off the image, does the original AP photographer deserve a cut, as well?

Here's another example. The following work is from edgy street artist Rupert Endive:

"Super Heavy Sex Machine No. 9/CRAZE" by Rupert Endive, 2003.
Photograph and Sharpie.

Endive's main "hook" is to put graffiti tags and other sorts of defacement on posters, magazine advertisements, and newspaper headlines. When Endive sells his work, does he owe a cut to the original producers of the material he has "defaced"? Or, because he has added his own ideas to the material -- thus rendering them ironic -- has he created a whole new work of art, beholden to nobody?

And what if instead of an edgy street artist, Endive was just some schmuck with a stack of papers looking to make a buck? How much of this is context? Does being a successful and renowned artist make you more likely to get a free pass on this copyright thing?

And look, I have no definitive opinion either way, other than the fact that I am Rupert Endive's exclusive agent and representative. I'm just throwing questions out there.

The Tiffany Report: NYCC Madness! (Madness!)

"His hair is so RED!" Tiffany exclaimed
as she totally posed with Joss Whedon.

I know, I have been remiss with my updates for The Tiffany Report (last "t" in "Report" is silent). Luckily, we have several photos here documenting our roving guest-reporter's roving through THE place to be last weekend, New York Comic Con!

"We're no angels" -- Tiffany, Val and Danielle do their version of
"Charlie's Angels" with their magic tiaras of happiness.

Tiffany at Landsdowne Road, with mischievous hand
growing out of her head.
Such is the way at Landsdowne.

"Who, me?" Sweet Danielle O'Brien is the portrait of innocence.

Yeah, Tiffany totally took a photo of that guy from 30 Rock. Totally.

When not blogging, Val hunts wild game and dreams of
oversized George Costanza heads.

Jocelyn Gajeway and Drew Rausch, of Sullengrey fame,
share in the magic that is The Tiffany Report.

A couple of guys Tiffany ran into.
I think they work for that DC webcomic thing. Zuda, is it called?

Thus ends The Tiffany Report. Want to see more Tiffany Reports? Let us know! That might be possible, in between her studying for her Boards and hanging out with that Eric guy.

Top Ten Movie Creeps, Jerks, Cads, and Assholes

The creep, cad, or asshole is a staple of many a film -- and his or her importance cannot be overstated.

Here are my favorite ten cinematic jerks:

10. Toht


Toht from Raiders Of The Lost Ark is a creep. He has beady eyes, he's a Nazi, and I don't like him. Plus, he provided me with one of those nightmarish visuals of my youth; only in retrospect can I take any sort of pleasure in his face melting off. Obviously, Belloq was no better than Toht and a far bigger Nazi -- but it's Toht's creamy melting visage that has caramelized its way into our collective unconscious.


9. Carter Burke

Ripley: Just tell me one thing, Burke. You're going out there to destroy them, right? Not to study. Not to bring back. But to wipe them out.
Burke: That's the plan. You have my word on it.
Ripley: All right, I'm in.

Carter Burke from Aliens is an asshole, a corporate stooge, a liar, and a coward. He can go to hell. "Mad About You" worked to lessen the stain of Burke from actor Paul Reiser for me, but only to a certain extent. I much prefer Richard Lewis.


8. Miss Hannigan

Now, some may say that Miss Hannigan is technically a bitch, but I think "creep" goes beyond gender. As we all know, she tried to stop that adorable red-headed moppet Annie from getting adopted. But even worse, she was totally macking on Daddy Warbucks when it was clear that he should be with Grace Farrell. This is totally what creeps do. Excusing her villainy at the end and blaming it on the booze was just a cop-out, in my humble opinion, and she totally did not deserve to be in the victory circus.


7. Tom Chisum/Cha Cha DiGregorio/Leo

These three characters from Grease are creeps -- though to be fair, Tom only was a creep because he existed, whereas Cha Cha and Leo were actively cads and assholes. (Cha Cha, technically more of a bitch) All three stood in the way of Sandy/Danny and Rizzo/Kenickie living out the awesome true love that was their destiny. However, Cha Cha has her own Barbie doll, so go figure.


6. Miss Almira Gulch


What the hell business is it of hers that Dorothy has a dog? Jesus H. Christ. Mind your own damn business! Stupid lady.


5. Jim


Jim the Jock from Edward Scissorhands is a total creep asshole. Because of him, Edward became misunderstood and had to live out the rest of his emo existence on a lonely mountain. This is what happens when creeps get involved in timeless romances. The fact that Jim used to be that nerdy guy from Breakfast Club does not in any way excuse his behavior. Screw this guy.


4. Bill Lumbergh


Lumbergh from Office Space is a creep/asshole who nonetheless has some sort of undefinable physical appeal that allows him to score with Jennifer Aniston. Perhaps she was swayed by the heady whiff of Power that emanated from Lumbergh's being. All we know is, she's a lesser person for it. * Edit: it has been pointed out that Aniston slept with a different Lumbergh, meaning that Bill Lumbergh doesn't really have much going for him except an undeserved reputation as teh result of mistaken identity. Though it must be pointed out that in real life, some of the Bill Lumberghs of the world do get surprisingly lots of action, because corporate despots/hacks can be real sexy.


3. Cal Hockley


Cal from Titanic is the type of movie asshole who is really handsome but shitty at the same time. He beats his girlfriend and totally gets cute Jack Dawson in trouble. I initially really hated Cal, but as time has gone on and I have hated this movie more and more, I sometimes catch myself hoping for an ending where Cal knocks Rose unconscious, drags her into a lifeboat, they both end up alive, and she becomes a pampered, drug-addled mother of eight unloved children who grow up to be uncontrollable proto-hippies. I think that would have been more interesting.


2. Ed Rooney


I don't know about you, but I found Rooney's obsession with Ferris Bueller to be a tad unhealthy. Somebody really needs to look into that.

1. Walter Peck

Dr Ray Stantz: Everything was fine with our system until the power grid was shut off by dickless here.
Walter Peck: They caused an explosion!
Mayor: Is this true?
Dr. Peter Venkman: Yes it's true.
[pause]
Dr. Peter Venkman: This man has no dick.

Walter Peck from Ghostbusters has served for me as the template of the Asshole in not just movies but every medium. He's elitist, he immediately hates the main character because of his own insecurities, and is willing to risk the deaths of countless people just to prove a point. Yes, he is truly dickless, without dick. At least, that's what I've heard. Then again, if you had a troupe of people dressed in crazy outfits spouting out psuedo-scientific gobbledy-gook and wielding powerful energy-thingies in the middle of NYC, you too might be an asshole about it. According to the Movie Villains website:

"Walter Peck, legal representative of the Environmental Protection Agency, has a legitimate beef with the Ghostbusters. No one wants "noxious, possibly hazardous" chemicals in their neighborhood, and that's the EPA's business."

Now, what if Walter Peck was totally nice about things, but said, in the nicest way possible, that there were certain EPA rules that the Ghostbusters had to follow?

I say, Venkman still wouldn't have cooperated with him. Which brings us to the concept of Asshole Pride. At least Peck had the pride of being a total self-righteous asshole. There is a certain consistency in that. The Lucy Van Pelts of the world are, in my opinion, happier than the Charlie Browns.

Assholes are the heroes of their own stories. And they don't even know that they're assholes; because if they did, they wouldn't truly be assholes. They'd be self-loathing wishy-washies in therapy. So raise a glass to the insufferable jerks; little critters of nature, they don't know that they're ugly.