What's the best saturday night out you've ever had?
This requires further meditation, but I’m gonna say it was when I went to see CENTIPEDE HORROR at @cinefamily with @ladyphibes and @odios. If you are the person who threw up at the end, I want to talk to YOU!
beyondliesthewub said: LOL, OMG…the same thing went through my mind. What bums me out most about this book is Michael Weldon not agreeing to an interview about Psychotronic…such an essential, but he over it, I guess.
ha, i guess it’s nice to know somebody shares my nerdy discontent. i think the key to the problem is that john szpunar’s focus is really on community and feelings of belonging, and that seems to override any critical thinking about the content of the zines he’s discussing, or his own prose and organizational devices. maybe i should have expected that, based on the subject and presentation alone. somehow, irrationally, i really wanted him to be the stephen thrower of horror zines, instead of the loving biographer of every basement-dwelling genre omnivore he could find.
some parts are fascinating because they just are (basically all the stuff on the 42nd street beat), and then in other cases szpunar practically sets up his subject for a fall — frothily describing chas. balun as a lester bangs-level critic with deep genre knowledge, and then printing him calling a movie “a great chair-jumper” (?? …) and referring to giallos as categorically supernatural. (NO DUDE)
I once had a music teacher who claimed that everyone could sing; some people could do it with more confidence or skill than others, but that shouldn't stop anyone from singing. Do you think the same can be said about drawing? Should I stop saying, "Oh, I can't draw," and give it a shot, or should I leave it to the skilled drawers like you and everyone on your new blog? (Let's assume [correctly] that I have no innate talent when it comes to creating art.)
what an interesting query, juliewinters. the question of whether someone “can” or “can’t” draw is strictly goals-related. almost the only time i ever catch myself thinking someone “can’t draw” is when i see really bad mainstream superhero art; that sort of artist has to draw characters recognizably, according to a style guide, genre conventions, and whatever successful artist he’s been prodded to imitate. that’s definitely the sort of thing some people “can’t” do (well).
on the other side of the coin, and perhaps even more helpfully, it’s worth noting that daniel clowes has said his drawings never come out the way he pictures them in his head. DANIEL CLOWES.
so again, measuring someone’s drawing ability (if you feel you have to, for some reason) is really only goals-related. a journeyman penciller for marvel either can or can’t do their job well. dan clowes obviously doesn’t let it bother him that his drawings don’t translate directly from his brain to his page. but still, in both cases we’re still talking about professionals who need to count on a specific effect to pay their rent. why are YOU drawing?
you don’t need a good reason to draw. i’m not going to project any reasons you might take up, because i don’t think that would be helpful or instructive. i’ll just say that lynda barry has this thing about how virtually everybody in the world draws at an early age, and then mysteriously, most people stop. she remembers child peers of a certain age starting to say that drawing is babyish. one obvious culprit is the cult of drawing realistically, another is the felt obligation to make things that are beautiful. imaginary restrictions like these inevitably make people feel like they can’t, and therefore shouldn’t, draw. i’m sure there are even more obstacles that i’m not thinking of.
really this all only comes down to the fact that if you want to draw, you should draw. maybe you’ll only know the reason AFTER you start, but you don’t need a reason. even just mindless compulsion is reason enough.