Posts
Frank and I are currently drawing and writing rough drafts for every page in the book. This is a page in-progress from an early chapter in the book.
Wednesday, January 7, 2009
Friday, December 19, 2008
Our DFTS Workspace
Here is the first of what we hope will be a regular series of photo-features of our studio. This is where we're working on Don't Forget This Song. Due to the snow, it's been hard to make the cross-town trip to get there.
I don't think it will snow again 'til Sunday, so it looks like we'll get one more full day of work in today...
First, here's the exterior of the building. Your basic Generic Workspace, it's located right off busy Aurora Avenue. It's easy to get to, and accessible by three different bus lines:
This is a shot of a cool old sign one block from our space. There are many curious artifacts in this neighborhood. We'll show you more of them.
This sign appears to be at least 35 years old. It's just paint on wood. All the white paint has been eroded by the wet, wet Northwest winters. I'm amazed the wood hasn't rotted off...
Our studio space is surprisingly quiet, given that it's right off roaring Aurora Avenue. We can see Mount Rainier from our windows. It's difficult to get a really good photo of this natural wonder, given the glare of the windows, etc., but here is a sample of the ever-changing vista...
Here are three shots of the studio, right after we moved our things in, and sans either of us:
The DFTS studio can boast some pieces of comix history. We have two Celebrity Lightboxes. Mine was built by underground comix legend Jay Lynch, in the '70s, I think. It was given to me by his wife, Carole, 16 years ago...
David is the proud possessor of an ex-Lloyd Dangle lightbox. This fancy item folds out into a handy lightbox-slash-easel. David has drawn many of our comprehensive roughs on this lightbox.
Speaking of David, here he is, seated at the gargantuan drafting table that his very kind neighbors donated to our project.
Another view of the drafting table, with drawings and some of our rough thumbnail pages attached:
Here's David, again: same table, same time. He's working on some of the rough thumbnails.
Here's me at work. I always look grumpy when I'm focused on my work. I think it's because of my far-sightedness. I have to really concentrate to hold my focus on close-up things. I should get reading glasses!
Do I look less grumpy from behind? We've since reconfigured our studio that this table faces the window.
As said, we'll post more on-site pix in the days to come. We hope you've enjoyed this modest glimpse into our new workspace!
I don't think it will snow again 'til Sunday, so it looks like we'll get one more full day of work in today...
First, here's the exterior of the building. Your basic Generic Workspace, it's located right off busy Aurora Avenue. It's easy to get to, and accessible by three different bus lines:
This is a shot of a cool old sign one block from our space. There are many curious artifacts in this neighborhood. We'll show you more of them.
This sign appears to be at least 35 years old. It's just paint on wood. All the white paint has been eroded by the wet, wet Northwest winters. I'm amazed the wood hasn't rotted off...
Our studio space is surprisingly quiet, given that it's right off roaring Aurora Avenue. We can see Mount Rainier from our windows. It's difficult to get a really good photo of this natural wonder, given the glare of the windows, etc., but here is a sample of the ever-changing vista...
Here are three shots of the studio, right after we moved our things in, and sans either of us:
The DFTS studio can boast some pieces of comix history. We have two Celebrity Lightboxes. Mine was built by underground comix legend Jay Lynch, in the '70s, I think. It was given to me by his wife, Carole, 16 years ago...
David is the proud possessor of an ex-Lloyd Dangle lightbox. This fancy item folds out into a handy lightbox-slash-easel. David has drawn many of our comprehensive roughs on this lightbox.
Speaking of David, here he is, seated at the gargantuan drafting table that his very kind neighbors donated to our project.
Another view of the drafting table, with drawings and some of our rough thumbnail pages attached:
Here's David, again: same table, same time. He's working on some of the rough thumbnails.
Here's me at work. I always look grumpy when I'm focused on my work. I think it's because of my far-sightedness. I have to really concentrate to hold my focus on close-up things. I should get reading glasses!
Do I look less grumpy from behind? We've since reconfigured our studio that this table faces the window.
As said, we'll post more on-site pix in the days to come. We hope you've enjoyed this modest glimpse into our new workspace!
Saturday, December 13, 2008
Maybelle's Guitar: 10 Favorite Riffs
Sorry not to have posted on here in awhile...
We've been hard at work on the book. Thumbnails are completed, and David has begun to render publication-size comprehensive roughs. I'm taking those and writing for-real dialogue.
It's nice to stop for a moment and consider the music that inspired us both to take on this creative project.
As much as the trio's haunting vocal blend, it's the lively, innovative guitar-work of Maybelle that gets me everytime I listen to some Carter Family favorites.
I've tried to decode some of Maybelle's oft-complex "Carter scratch" guitar lines. Some of them remain off-bounds to me. I can do a pretty mean "Cannonball," "Wildwood Flower" and "Jimmy Brown, the Newsboy," plus a couple others.
There are others that I expect I'll be trying for the rest of my days. How did Maybelle do it? Her harmonies and fretwork remain as fresh and challenging today as they must have sounded 70-ish years ago.
As a fan of Top Ten lists, I thought I'd compile my Maybelle Top Ten:
In no particular order...
John Hardy Was A Desperate Little Man: A dynamic, vibrant guitar figure, with a great "high lonesome," highly modal harmonic structure, gives this Carter Family classic an immense urgency. This was the recording that really hooked me, all those years ago...
Wildwood Flower: A no-brainer. Amongst the most recognizable guitar figures of the 20th century, this elegant musical expression will continue to thrive well after you and I are long gone. I'm also fond of Chet Atkins' harmonic reimagining of the tune, which he recorded on Christmas Eve, 1953.
You Are My Flower: Maybelle at her most exotic and far-reaching. This 1938 recording must have been a real mind-blower for country musicians of the day. It still seems to reach out into the twilight zone in its manic mixture of string-band music and Latin sounds.
Hello Stranger: Maybelle most likely learned this piece from the Carters' friend and inspiration, Lesley Riddle. Riddle either wrote the song or, like A.P. so often did, cobbled it together from foraged bits and pieces. Maybelle shows a real feeling for the blues in her emotive, relaxed picking. There are times when this is my favorite CF side of them all.
If One Won't, Another Will: I will go to my grave trying to figure this #$%)@)#>": guitar line out! I think that Sara contributes something, harmonically, to this guitar figure. If not, then Maybelle apparently grew a third arm for this 1932 session. This is the most modal and adventurous of Maybelle's CF outings. The song is also quite haunting, and an under-rated piece in the CF canon.
The Cannon-ball: One of the loveliest and most enduring of the Carters' classic recordings, this cherished tune blends Maybelle's passionate, delicate and evocative guitarwork with a beautiful solo vocal by A.P. Carter. I am also fond of the 1930s re-recordings in which Sara and Maybelle share harmony vocals.
Forsaken Love: Another oft-overlooked gem in the CF catalog. Maybelle's strong guitar line bolsters this tragic lost-love plaint. I like how her picking coalesces with Sara's vocals.
Foggy Mountain Top/Sweet Fern: Twin contenders in the Maybelle slide-guitar canon. Her quirky take on Hawaiian and blues slide guitar styles really brought something new to the Carters' recordings.
I like both performances equally. In a pinch, I'd admit a preference for "Sweet Fern," as the eccentricity of Maybelle's guitaristry abets the weirdness of the song itself.
Her slide technique contributes greatly to the atmosphere of "Foggy Mountain Top."
Lonesome Homesick Blues: Maybelle also wrote this 1941 song, from the Carters' final studio recording session. She tears it up on the fretboard here. That last session is a real stunner--especially when heard via Rich Nevins' amazingly good remastering on the Bear Family box set In The Shadow of Clinch Mountain. For a low-cost option, there's also JSP Records' bootleg of the Bear Family set, in two five-CD volumes.
However you hear it, that final RCA session is one of the Carters' best. From a biographer's POV, I'm delighted that they quite literally went out on their highest note. The entire session harkens back, in both performance and material, to their Bristol sessions, and to the pivotal 1928 session that produced "Wildwood Flower."
I've left out many other great Maybelle moments... they're waiting on the Carters' recordings for you and I to enjoy.
We've been hard at work on the book. Thumbnails are completed, and David has begun to render publication-size comprehensive roughs. I'm taking those and writing for-real dialogue.
It's nice to stop for a moment and consider the music that inspired us both to take on this creative project.
As much as the trio's haunting vocal blend, it's the lively, innovative guitar-work of Maybelle that gets me everytime I listen to some Carter Family favorites.
I've tried to decode some of Maybelle's oft-complex "Carter scratch" guitar lines. Some of them remain off-bounds to me. I can do a pretty mean "Cannonball," "Wildwood Flower" and "Jimmy Brown, the Newsboy," plus a couple others.
There are others that I expect I'll be trying for the rest of my days. How did Maybelle do it? Her harmonies and fretwork remain as fresh and challenging today as they must have sounded 70-ish years ago.
As a fan of Top Ten lists, I thought I'd compile my Maybelle Top Ten:
In no particular order...
John Hardy Was A Desperate Little Man: A dynamic, vibrant guitar figure, with a great "high lonesome," highly modal harmonic structure, gives this Carter Family classic an immense urgency. This was the recording that really hooked me, all those years ago...
Wildwood Flower: A no-brainer. Amongst the most recognizable guitar figures of the 20th century, this elegant musical expression will continue to thrive well after you and I are long gone. I'm also fond of Chet Atkins' harmonic reimagining of the tune, which he recorded on Christmas Eve, 1953.
You Are My Flower: Maybelle at her most exotic and far-reaching. This 1938 recording must have been a real mind-blower for country musicians of the day. It still seems to reach out into the twilight zone in its manic mixture of string-band music and Latin sounds.
Hello Stranger: Maybelle most likely learned this piece from the Carters' friend and inspiration, Lesley Riddle. Riddle either wrote the song or, like A.P. so often did, cobbled it together from foraged bits and pieces. Maybelle shows a real feeling for the blues in her emotive, relaxed picking. There are times when this is my favorite CF side of them all.
If One Won't, Another Will: I will go to my grave trying to figure this #$%)@)#>": guitar line out! I think that Sara contributes something, harmonically, to this guitar figure. If not, then Maybelle apparently grew a third arm for this 1932 session. This is the most modal and adventurous of Maybelle's CF outings. The song is also quite haunting, and an under-rated piece in the CF canon.
The Cannon-ball: One of the loveliest and most enduring of the Carters' classic recordings, this cherished tune blends Maybelle's passionate, delicate and evocative guitarwork with a beautiful solo vocal by A.P. Carter. I am also fond of the 1930s re-recordings in which Sara and Maybelle share harmony vocals.
Forsaken Love: Another oft-overlooked gem in the CF catalog. Maybelle's strong guitar line bolsters this tragic lost-love plaint. I like how her picking coalesces with Sara's vocals.
Foggy Mountain Top/Sweet Fern: Twin contenders in the Maybelle slide-guitar canon. Her quirky take on Hawaiian and blues slide guitar styles really brought something new to the Carters' recordings.
I like both performances equally. In a pinch, I'd admit a preference for "Sweet Fern," as the eccentricity of Maybelle's guitaristry abets the weirdness of the song itself.
Her slide technique contributes greatly to the atmosphere of "Foggy Mountain Top."
Lonesome Homesick Blues: Maybelle also wrote this 1941 song, from the Carters' final studio recording session. She tears it up on the fretboard here. That last session is a real stunner--especially when heard via Rich Nevins' amazingly good remastering on the Bear Family box set In The Shadow of Clinch Mountain. For a low-cost option, there's also JSP Records' bootleg of the Bear Family set, in two five-CD volumes.
However you hear it, that final RCA session is one of the Carters' best. From a biographer's POV, I'm delighted that they quite literally went out on their highest note. The entire session harkens back, in both performance and material, to their Bristol sessions, and to the pivotal 1928 session that produced "Wildwood Flower."
I've left out many other great Maybelle moments... they're waiting on the Carters' recordings for you and I to enjoy.
Sunday, November 16, 2008
Jimmie Rodgers Visits
This is a comics page I created in collaboration with Frank Young as part of our book proposal package for the graphic novel. The text comes from one of the actual recordings the Carter Family made with Jimmie Rodgers. It's a recording I never tire of listening to.
When Frank and I were given our page count by Abrams, we realized a lot of what we'd planned would have to be cut. The "Jimmie Rodgers Visits the Carter Family" adaptation was sadly removed from the outline to strengthen the story and keep the plot flowing right along. You won't see it in the book, but it may make an appearance later on...
Tuesday, November 4, 2008
Don't Forget To Vote!
Today is a crucial day in American history. I urge you to take action and be part of this important moment.
Election 2008 Voting Information
Today, November 4th, is Election Day! Remember to vote—not just for Barack Obama, but for Congressional, state, and local candidates as well.
Where and when do I vote?
Find your polling place, voting times, and other important information by checking out these sites and the hotline below. These resources are good, but not perfect. To be doubly sure, you can also contact your local elections office.
Obama's VoteForChange site: voteforchange.com
League of Women Voters' site: vote411.org/pollfinder.php
Obama's voter hotline: 877-US4-OBAMA (877-874-6226)
What should I do before I go?
After you've entered your address on either Vote For Change or Vote411, read the voting instructions and special rules for your state.
Voting ID laws vary from state to state, but if you have ID, bring it.
Check out all the voting myths and misinformation to look out for: http://truth.voteforchange.com/
What if something goes wrong?
Not on the voter list? Make sure you're at the right polling place, then demand a provisional ballot.
If you're voting on an electronic machine with a paper record, verify that the record is accurate.
Need legal help? Call 1-866-OUR-VOTE.
If you encounter a problem, try to videotape the situation and submit it to VideoTheVote.org
Election 2008 Voting Information
Today, November 4th, is Election Day! Remember to vote—not just for Barack Obama, but for Congressional, state, and local candidates as well.
Where and when do I vote?
Find your polling place, voting times, and other important information by checking out these sites and the hotline below. These resources are good, but not perfect. To be doubly sure, you can also contact your local elections office.
Obama's VoteForChange site: voteforchange.com
League of Women Voters' site: vote411.org/pollfinder.php
Obama's voter hotline: 877-US4-OBAMA (877-874-6226)
What should I do before I go?
After you've entered your address on either Vote For Change or Vote411, read the voting instructions and special rules for your state.
Voting ID laws vary from state to state, but if you have ID, bring it.
Check out all the voting myths and misinformation to look out for: http://truth.voteforchange.com/
What if something goes wrong?
Not on the voter list? Make sure you're at the right polling place, then demand a provisional ballot.
If you're voting on an electronic machine with a paper record, verify that the record is accurate.
Need legal help? Call 1-866-OUR-VOTE.
If you encounter a problem, try to videotape the situation and submit it to VideoTheVote.org
Wednesday, October 8, 2008
Sara and Maybelle on film
It is unfortunate that a performance of the original Carter Family was never filmed. Maybelle and Sara made a few TV appearances in the 1960's, forty years after they'd first recorded in 1927. My favorite clip from that time is this impromptu performance, maybe the closest we'll get to seeing the original Carters in concert:
Tuesday, September 30, 2008
Poor Valley
The Carter Family comes from an area in SW Virginia called "Poor Valley". I was surprised to learn that there is also a "Rich Valley," where the soil is better for farming and people are generally more affluent.
One of the original concepts Frank and I had for this book was to show some of the events taking place in a comic strip called "Poor Valley" that would be based on the classic newspaper strip "Gasoline Alley". Though our art will definitely be influenced by "Gasoline Alley" (among other things), we have recently decided not to use a "Poor Valley" logo in the book as it would impede the narrative flow. But you can see it right here, right now, in this art sample we created during the initial planning process.
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