Velkommen til Nummer9!

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I dag blændes der op for et nyt dansk webmagasin om tegneserier, nummer9 — et bud på en bred men også kritisk dansk kilde til nyheder, kritik og journalistik fra tegneseriens verden. Initiativtagere en en bred vifte af folk fra det danske tegneseriemiljø, inklusive undertegnede. Chefredaktør er Erik Barkman. Han skriver følgende i sin velkomst:

“Nummer 9 er et nyt magasin på nettet for alle med interesse for tegneseriemediet : eller den niende kunstart, som de siger i Frankrig. På Nummer 9 vil vi bringe anmeldelser, nyheder og baggrundsstof, som henvender sig til både nye og garvede tegneserielæsere.

Bag Nummer 9 står en samling skribenter, der har slået deres folder hos bl.a. Rackham, Tegneseriesiden og tegneseriemagasinet STRIP! Tilsammen vil staben bestræbe sig på at dække alt fra humørstriber og klassiske superhelte over den fransk-belgiske albumtradition til manga og eksperimenterende graphic novels.

Vi har indgået et samarbejdet med STRIP!, som betyder, at vi har fået lov til at bringe artikler fra bladets omfattende arkiv. Det er en enestående mulighed, som forhåbentlig vil komme mange læsere til gode.

Vi håber på interessante dialoger, så skriv endelig kommentarer til indlæggene.

God fornøjelse!”

Adressen er www.nummer9.dk — sæt bogmærke eller smid det i din feed!

Danmark har i alt for lang tid manglet et tilgængeligt og kvalitetsbevidst dansk tegneseriesite. Lad os håbe på, at nummer9 vil udfylde den rolle!

Komiks.dk!

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Friday this week finally sees the kickoff of what promises to be the best comics festival ever in Denmark. For the fourth time round, the Copenhagen comics biennial, Komiks.dk, offers a programme that seeks to span the breadth of the comics medium and features a fantastic lineup of international guests. In step with their mounting ambitions, the festival organisers have brought the event to a bigger and better venue than previous years — Øksnehallen, in the heart of Vesterbro and close to the city centre.

And the programme is a significant improvement on that of earlier years. The headliner arguably is the great American triumvirate of Chris Ware, Dan Clowes and Charles Burns, rivalled only by the trio of true brits Dave Gibbons, Kevin O’Neill and Frank Quitely. Add to this a host of other cartoonists, including a couple of interesting younger German artists, Line Hoven and Arne Bellstorf, and all the way from Japan, Keitarō Arima. The venerable French-Belgian mainstream is held down by Jean van Hamme and Bernar Yslaire, while the virtuosic Dutch chameleon Daan Jippes will be reppin’ both that tradition, and the many others he has tried his hand during the course of a long career.

Komiks.dk is the major event in Danish comics and it always brings with it a host of new releases. This year, we will for example see the long-awaited Danish publication of Ware’s Jimmy Corrigan from Aben Maler, as well as Burns’ Black Hole from Fahrenheit. Aben Maler also has Clowes’ brand new book, Wilson, on offer, and both publishers are serving up a number of remarkable new Danish releases.

I myself will be taking part in a number of activities. Firstly, I’m involved in the planning of an academic conference, entitled Contemporary Comics, at the University of Copenhagen, which you will already have heard about if you’re a regular reader here. The main organiser is Rikke Platz Cortsen, Ph. D. student at the Department of Art and Cultural Studies and we’re very proud of the programme we’ve put together, which you can check out on the official website, and not the least of its centrepieces, a keynote address by Canadian comics scholar and Jacques Samson and an on-stage conversation between Paul Gravett and Chris Ware.

This all takes place on Friday and would be the perfect way to warm up for the festival proper — so if you’re around, do turn up (pre-booking is not required). That same night is the festival’s launch party at Øksnehallen, where the official Komiks.dk awards, selected by a jury (which includes yours truly), will be handed out. The festival proper runs through Saturday and Sunday and the full programme can be downloaded here.

Ã…rtiers udgivelse: Jimmy Corrigan, den klogeste dreng i verden

Chris_WareTHORHAUGE HER: ENDELIG! Chris Wares hovedværk, Jimmy Corrigan, The Smartest Kid on Earth, er nu udkommet på dansk, i en toptilrettelagt udgave på Aben maler. Det er selveste signaturværket i bølgen af nye tegneserier fra de sidste 15 år, et fuldblods mesterværk i alle henseender. Jeg har skrevet og talt om den bog en million gange, og det må være nok. Det eneste, der er tilbage at sige, er: KØB DEN. Den er helt uden for diskussion pengene værd, Jimmy Corrigan er en bog, man vender tilbage til igen og igen.

Ware er som bekendt hovednavn på tegneseriefestivalen i Øksnehallen, Kbh., 22. og 23. maj, køb dit eksemplar der, og nyd (den både sjove og særdeles reflekterede) Ware i samtale med Metabaron Matthias Wivel ham selv om lørdagen.

I Information blev dette lille interview med Ware i øvrigt bragt forleden.

/tt–

Back in the Days: Guru and Gang Starr in Copenhagen

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For those of you who read Danish, my piece on Guru is now up in translated form over at Rapspot.

Also, I wanted to plug my man Frederik Høyer-Christenen’s photos — we both attended some of Gang Starr’s great shows in Copenhagen in the early 90s. Unfortunately, Frederik didn’t bring his camera to their first and greatest concert, at Rockmaskinen in Christiania in 1992, where they were backed up by Li’l Dap and and a fired-up Jeru the Damaja, but he was there for their show at Pumpehuset in 1994, once again featuring Jeru, as well as Big Shug.

Plus, there was the first Jazzmatazz tour in 1993, featuring Shug, Donald Byrd, Roy Ayers, DC Lee and DJ Jazzy Nice. Frederik caught them at Ridebanen, Christiansborg, during Copenhagen Jazz Festival and got the above shot of the legendary Donald Byrd and Guru, while I was away but had attended their stop at that year’s Roskilde festival the week before.

Sorry, these memories of course are of no use to anyone here, but those were good times and the pictures are nice! — rest in piece Guru.

Frank Frazetta RIP

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The great fantasy artist Frank Frazetta (1928-2010) died yesterday at the age of 82. Surely the most influential artists within his genre and a significant comics illustrator and cartoonist too, his legacy is apparent everywhere. Basically, fantasy illustration as we know it would be much different if it weren’t for him.

His pen and ink work in, say the EC comics or even Li’l Abner, had a beautiful rendered, but also slightly stiff illustrative quality, not just in comparison with the latter’s creator Al Capp, but also paragons of comics illustration like Alex Raymond or Hal Foster, or even direct peers such as Wally Wood. But when working non-sequentially, he was without peer. Yes, his grasp of anatomy was far from perfect and he never had a great sense of space, but his work is possessed of a physicality and an energy rarely seen in illustration and his work coheres beautifully, making one forget its inaccuracies and immerse oneself in his imaginary worlds.

His is a strongly masculine idiom, and powerfully sexy, but never seems exploitative — it has a streetwise depression era integrity to it that finds virtue in action.

Above: the image that wet the pants of every adolescent metalhead, the 1972 Death Dealer (slightly cropped). UPDATE: Tom Spurgeon now has a full obit up. For galleries of Frazetta art, check Golden Age Comic Book Stories here, here and here, and this gallery is pretty decent too. And Gary Groth’s great feature-length interview with the man from The Comics Journal #174 is highly recommended.

Debuting DWYCK

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Today I’ve posted my inaugural column–dubbed DWYCK in memory of Guru–over at Hooded Utilitarian, one of the liveliest and highest-falutin’ spots in the comics blogosphere. I’m honoured to be part of the team there, and excited about now being able to express my disagreements with everyone there from the inside, instead of just their bustling comments section. Thanks guys!

For this first column, I figured I’d write a little about cartooning and some thoughts I’ve been having about its role in the history of art since antiquity. What do M. Crépin and Doryphoros have in common? Tune in to DWYCK and see.

The Voice

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“It’s mostly the voice, that gets you up/ And mostly the voice, that makes you buck/ Some got flavor, and some got skills/ But if your voice ain’t dope, then you gots to CHILL”

“Mostly tha Voice” (1994)

The recent passing of Keith Elam, a.k.a. The Guru (1961-2010 RIP), reminds us of an era in hip hop, that for all intents and purposes has also passed. A time when the culture was still underground, but standing on the verge of Planet Rock. Gang Starr was a transformative act, bridging the gap between hip hop’s second—”golden”—generation in the late 80s, and the music’s explosion onto the world stage as a defining pop phenomenon of the 90s. And in the beginning, Guru’s was manifestly the voice of change.

His warm, burred monotone had an inherent authority, revealed an acute intellectual foundation, and built upon the broader thematic claims for hardcore rap at the time being staked out by the triumvirate of Rakim, KRS-One and Chuck D. Where these masters challenged the format of rap, Guru’s consolidation of their innovations became a proposition for the future of the form, a statement of its viability and versatility, a formula for longevity. It made of an MC of somewhat limited technical skill one of the signature voices of hip hop, but the constraints it imposed on the ambitious and apparently somewhat unbalanced Guru seem also to have contributed to his sad decline as an artist over the last decade.