Thursday, August 29, 2024

Tragedy Strikes: An Oral History of Guelph’s Groundbreaking Comic Book Company


Tragedy Strikes: An Oral History of Guelph’s  Groundbreaking Comic Book Company 

by BK Munn

(Note: This article originally appeared in Tales of a Guelphite #1, published in 2018 by Fenylalanine Publishing.)

It may seem hard to believe now, but once upon a time there was a comic book company in Guelph, Ontario, Canada. Way back during the "Grunge Era" of the early 1990s, the wonderfully named Tragedy Strikes Press produced a series of punky, arty, comix that had a big impact on the indy comics scene in North America and around the world. Bankrolled by a comic shop and run by a group of art school rebels, the company published comics from as far away as New Zealand and launched the careers of some of the most visionary cartoonists of the last 30 years. In business for a brief-but-glorious 3-year period, the company managed to birth 5 separate titles and a total of 21 issues before fulfilling its destiny and fading to black in the Spring of 1993, right around the time Dinosaur Jr. was releasing Where You Been and Kurt Cobain and Courtney Love were all anyone was talking about. Along the way, it printed early work by the likes of Marc Bell, Mike Allred, and Adrian Tomine.  

Tragedy Strikes Press started with Nick Craine’s The Cheese Heads, inspired in equal parts by the Black & White comics boom that brought the world The Teenage Mutant Ninja Turtles, and by the 80s surge in adult-themed comics like RAW, Love & Rockets and Canada’s own Mr. X and Yummy Fur. Craine’s Cheese Heads were a gang of trenchcoat-clad nihilists (with exposed Swiss-cheese brains, of course) who were involved in mysterious, violently surrealist doings —in many ways the  most 90s comic ever! From these humble beginnings, the young company next published Michel Vrana’s Reactor Girl, an anthology that started as a self published zine but quickly grew to become a showcase of international comics art. Very soon, three of Reactor Girl’s contributors, Carol Swain (UK), Dylan Horrocks (New Zealand), and Jay Stephens (Canada) had their own comic  books: Swain’s Way Out Strips, Horrocks’ Pickle, and Stephens’ SIN

The company seemed poised for great things, but after two years it was all over. Editor Vrana left Guelph for Montreal but continued publishing some of the TSP titles with his own Black Eye Productions. Swain and Horrocks became critically-acclaimed graphic novelists, and Stephens parlayed his edgy comic book series into a career creating Emmy-winning animated tv shows for kids.  

How did all this happen? And why did it happen in Guelph? Now the story can be told, the tale of Tragedy Strikes Press, direct from the cartoonists in their own words! 


1. NICK CRAINE. 

Nick’s The Cheese  Heads #1 was published in March 1991, running for 6 issues until November 1992. Since then, Nick has become a successful musician and producer, music video director, and professional  illustrator. His most recent books are the 20th anniversary edition of the Hard Core Logo graphic novel and an illustrated book for kids, 5-Minute Hockey Stories.

Nick Craine: I grew up on Carden St. living above what was then the Hong Kong Restaurant [now Wok’s Taste]. Just downstairs and to the south was Card’n’Comics. Landing in a scuzzy apartment in downtown Guelph with a comic book store just up the block was like a dream. I lived at the comic book store so much that the owner, Shane Kenny, started sending me on errands to buy sandwiches from the Treanon Restaurant, to restock the shelves, and organize the backstock. At the age of 11 years old I had my first job working for $5/hr cash or $6/hr trade. Shane was the first person I met with first-hand experience in the art world and art school (he may  have gone to art school for a year —I can’t quite remember). I envied his steady hand, the way he could hand letter all the signage in the shop. He would hold these juried art competitions in the store where you had to reproduce an existing comic book cover (I won 1st prize for my embellishment of Frank Miller’s RONIN). I would stare at all the entries and hope and wonder that I might get the validation I was seeking. Shane was a surrogate father figure in this period.  

Shane and his wife Linda had 2 children, Robin and Liam, and I was their babysitter! As high school began to come to a close, I remember Shane describing this idea he had for a comic book that was totally through the lens of Roger Corman. He called it, “Attack of the Killer Cheeseheads from Beneath the Planet of Urzatz Rangers.” I  don’t remember much of the back story to his vision but I found it very entertaining to listen to and loved feeling the positive attention that Shane was offering. 

During the course of grade 11, I started volunteering at the University of Guelph’s newspaper, The Ontarion, and there my cartoonist career awkwardly began with a weekly strip called, “The Cheese Heads.” I was planning on self-publishing a small run like the Dishman comics by Guelph cartoonist John McLeod, but Shane was very enthusiastic and thought this was worth pursuing as a full-on publishing venture. He and Linda offered to bankroll the publishing house and run it out of the basement of the comic book store (now called Collage and located at 30 Wyndham St). I’m fuzzy on the exact timing of things but somewhere in there we formed a company called Tragedy Strikes Press named for a drawing of an exploding city bus that adorned my portfolio for years. We printed 2-3000 copies of The  Cheese Heads #1 at the same printer that printed The Ontarion. At the time I was hyping on Raw Magazine and decided to print the cover with this radical off-register effect that I thought was cool. Most people thought it was a mistake. In hindsight, I suspect self-sabotage was guiding that decision. But there it was. It existed. We had distribution through Andromeda, Diamond, Last Gasp and a handful of others. Who knows how many we sold? 

1st year art school was a bust but I met Michel Vrana. Together, Michel and I made a comics anthology insert for the school paper with an EC vibe called Itchy Tales. Michel was already successfully bankrolling his own darling anthology called Reactor Girl named for his own cool cartoonist effort, a sweet postmodern petite protagonist named Reactor Girl. I think he put out 2 or 3 issues of the mini and they were smart, and carefully designed and demonstrated a real  love of the medium.

After flunking out of art school I took off to London England with my girlfriend, selling copies of Cheese Heads #1 on the streets in Camden Town. The local comic shop took  notice and started selling them too. Somehow, I met Paul Gravett at a book show in Reading I think. Paul wanted to know all about Chester Brown. Regretfully I hadn’t met Chet at that point and didn’t have much  to tell. Nonetheless Paul invited me to participate in Alan Moore’s epic collaboration known as “The Worm.” My contribution is terrible of course but how cool was it to be in a room with this crazy comics stunt going on? While in England, I got to understand the lay of the self-publishing land and two voices really stood out: Carol Swain and Dylan  Horrocks. I ended up meeting Carol and  asked her if she’d provide a back-up story for Cheese Heads #2. I never met Dylan as he is based in New Zealand, however I got ahold of his fantastic FOX comics through Paul Gravett who I think was publishing him at the time. 

By September/October TSP was in full existence. Shane and Linda offered me a salary and hired Michel Vrana to be the managing editor and we began to plan the roll out of a full-sized anthology of Vrana’s Reactor Girl. The second issue of Cheese Heads came out in November. We were a fully functioning publishing company now with Vrana’s amazing design smarts to lift the production value of the comics. We began printing the comics at Preney Print & Litho of Cerebus fame. I was just starting to actually learn how to draw. Cheese Heads #3 came out Jan '92. It was really weird. There was a dude smoking bugs. I don’t know where all this was coming from. It was a dream come true. By June of 1992 we were  cookin’.  

The super-talented Jay Stephens was in his first year during Vrana’s final year at OCA [Ontario College of Art, now OCAD University]. Stephens’ work was featured in the original Reactor Girl minis and when the book made the jump to TSP, Stephens’ awesome work stood out. You could see in his first issue the beginnings of all the brilliant tributaries that he would go on to investigate in his fantastic career to come. Way Out Strips was launched in May. Pickle was launched in December. 1992 was busy. I think we were printing 3000 copies per issue. I have no idea what we sold. I’m sure that SIN was the bestseller, though. It was a magical time. I wish I could do it over again. I would take myself less seriously and not be so tortured. The books were fabulous. In our own way, I feel like we were elevating the medium with our Canadian-ness. We were getting letters and I remember getting a piece of fan art from Michael Allred who was doing his Graphic Muzik with Caliber and that provided me a huge ballast of validation that fuelled me for a long time. Michael’s career exploded with Madman back when one of the TMNT guys founded TUNDRA.  

Cheese Heads #6 was partially completed but never came out. I don’t remember exactly how it all played out but I don’t think we made it into 1993. The sales could not support the company and there were too  many forces weighing on us and on the comic shop. Tragedy Strikes Press was eating cash. More than one person commented on the demise of the press that we should have called ourselves something like, 'Healthy Profit Margin Press" or some such thing!


2. DYLAN HORROCKS. 

Dylan’s short comics stories started appearing in the 4th issue of Reactor Girl (August 1992) and the first issue of his Pickle was published in December 1992. Nine more issues of Pickle were later published by Black Eye, serializing the award-winning graphic novel Hicksville, about a small town in New Zealand that is secretly the centre of the comic book universe. He has gone on to have work published by Drawn & Quarterly and Fantagraphics, and even wrote Batgirl comics for awhile! 


DYLAN HORROCKS: I’d been handing out copies of my Pickle mini-comics to cartoonists and publishers that I met at comics events. But the contact with Tragedy Strikes came about through Paul Gravett (the former editor of Escape Comics, among countless other  things). Michel Vrana and Nick Craine (if memory serves) were visiting the UK in late 1991 or early 1992 (my memory of the details  here is vague, so Michel etc can probably correct things) I think for the UKCAC convention? Paul introduced me to them over a beer and I gave them copies of the Pickle mini-comic. We chatted for a while and then went our separate ways. Paul is always doing this, by the way: bringing comics people together, pointing work out to publishers, sparking productive collaborations. Anyway, a few months later, I returned to New Zealand, and for a while I was difficult to contact —sleeping on friends’ couches, with no fixed address or phone number. One day, my father received a mysterious fax addressed to me. It said something like “Dear Dylan, We are interested in publishing Pickle as an ongoing—“ and then the fax machine had jammed and the rest of the message came out looking like a barcode: unreadable vertical lines. I had no idea who it was from or anything. Eventually I was able to decipher the number it had come from and worked out it was from Canada. I dimly remembered Paul Gravett introducing me to some Canadians, so I called him and he confirmed their identities. I finally made contact with Michel Vrana and  enthusiastically agreed [Pickle #1 came out December 1992]. 

My memories of that time are complicated and intense. I was in the middle of a personal crisis: trying to decide whether to live in New Zealand or England (I travelled backwards and forwards between them a few times); my girlfriend and I broke up, then got back together, then broke up again; I was dirt poor and surviving on the kindness of friends and family, and meanwhile, I was trying to put together my first solo professional comic book. Half that issue was made up of existing work (from the mini-comics etc), and the rest was drawn on friends’ kitchen tables and floors in NZ and England. Putting that first issue together was one of the most exciting things I’d ever done, and it happened while the rest of my life was in absolute chaos. I was so relieved when it actually came out, and around then, things settled down: I moved back to New Zealand for good, got back together with my girlfriend (we’re now married and have two grown-up sons), and was hired by a bookstore in Auckland. Phew! 

From memory, I mostly dealt with Michel (and a little bit with Nick?). I don’t remember any direct contact with Shane. They were a joy to work with: enthusiastic, helpful, endlessly patient with my inexperience and the hassles of long-distance communication in a pre-internet age (made worse, of course, by my lack of fixed address at the time). They also sent me copies of Nick’s Cheeseheads and Jay Stephens’ Sin, and I loved them both. It was an exciting place to be published. I had a vague sense of Shane being the financial backer, with Michel and Nick as the hands-on publishers (especially Michel). But I was far away in NZ, so I didn’t really know how things were organized. I always assumed Jay was also part of the team —it seemed like Guelph was this hot-bed of  cartooning talent, and Tragedy Strikes had grown out of that. As for putting out an issue, the contents were left entirely up to me, with lots of faxes back and forth to sort out design details, etc. I then sent the artwork over to Canada and they turned it into a comic.

I have no idea what the sales numbers were like. This is all pre-internet, so it took a while to get any response, but I dimly remember a nice (brief) mention in The Comics Journal, and a slow trickle of letters and postcards from other cartoonists. By the time we’d done a few more (under the Black Eye imprint), I’d had really gratifying feedback: some of my favourite cartoonists (like Chester Brown and Seth) had praised Pickle, and I was in touch with a bunch of really exciting young voices who became good friends (people like Jon Lewis, Tom Hart, Megan Kelso, James Kochalka, Ed Brubaker, and of course Jay  Stephens and Nick Craine). It felt like being part of a new movement in comics —even though I was on the other side of the world. Michel Vrana was an important supporter of that scene. 

Despite the ominous (even ill-fated?) name, Tragedy Strikes was a huge turning point for me. Pickle #1 launched my career, gave me an opportunity to do exactly what I wanted to do with comics, and introduced me to an inspiring community of fellow cartoonists. I came in near the end, I guess: one issue of Pickle, a couple of Reactor Girl contributions, and then they folded. If Michel hadn’t followed up with Black Eye, things might have been very different for me, but as it turned out, the end of Tragedy Strikes was just the beginning. I’m enormously grateful to Michel in particular, for taking a chance on Pickle, and for putting out Hicksville right at the end of Black Eye’s own lifespan. He was a great champion of personal idiosyncratic comics, and became a good friend. I keep in touch with Michel, Nick and Jay via social media, emails, and in person when I get over to Canada. I even stayed with Michel the last time I was in Toronto. It’s always a thrill when I see new comics and art from Nick or Jay. And any mention of Guelph gives me a warm, happy feeling. So I guess Tragedy turned out pretty good in the end. 


3. JAY STEPHENS. 
Jay began publishing with Tragedy Strikes in the first issue of Reactor Girl in December 1991. He got his own comic  book series with Sin #1, June 1992 and that series ran for 5 issues, until February 1992. Jay turned several of his comic book characters into tv shows, including JetCat  (Nickolodeon), Tutenstein (Discovery Kids), and The Secret Saturdays (Cartoon Network). He has made comics for DC (Teen Titans) and Chickadee and Owl magazines. He has also drawn the newspaper comic strips ODDville and Oh, Brother! His latest project is the Canadian superhero series Arrowhead, published in True Patriot Comics.  

JAY STEPHENS: Michel Vrana saw my sketchbooks when we were roommates in San Miguel De Allende, Mexico. Suddenly, out of nowhere, he was editing the comics issue of the Ontario College of Art newspaper, and asked me to contribute. That was my first  printed comic, so I began printed life like a spoiled little shit with a publisher attached. The comic was probably about a dolphin named Kerplunk. Kerplunk dies at the end. The OCA comics issue (Itchy Tales?) had to be reprinted, it was so popular, which lead  Michel to the idea of printing up our own little comics, independent of the Art School. Reactor Girl was born as a hand-silkscreened  anthology mini-comic (with hand-stitched  binding and occasional glued-on googly eyes) and it sold out at the nearby Silver Snail ... I believe we were one of the first mini-comics they ever carried. Then, suddenly, Nick was telling us Shane wanted to make it into a 'real' comic book. 

I was more of the team mascot and cheerleader. Nick Craine from Guelph had been the Art Director and co-instigator of Itchy Tales, with Michel as Editor, and they retained those titles as we moved forward. I voiced opinions about everything always, and they didn't seem to mind. Sin was an organic growth from the anthology that was ill-conceived and idiotically ambitious, but the best fun I've ever had drawing. I had too many fucked up ideas for a few pages per issue of RG, and so we talked each other into producing a bi monthly series. It reflected my sketchbooks at the time: Mad Magazine-ish solo anthology with fake ads, tasteless gags, and delusional semi-autobiography that all connected into one larger fever dream. Drugs were involved. 

I got lots of fan mail and also surprising support from other cartoonists, which kept me going. I think we sold between one and two thousand copies of each issue?, but you'd have to check with Michel. We were paid! It was a success, but we didn't feel successful ... it still seemed so small and personal, like I was trading mixtapes and demos with friends, or something. The three of us talked in high-pitched baby voices around the  office ... we were idiots. But we were idiots with ambition and boundless ideas and energy ... it could have been grand. 

I believe the comic shop, Collage, that Shane owned was having financial difficulties that resulted in his pulling the funding for our pulpy little empire. We all just moved on with Michel at the head of Black Eye Productions, a little older and wiser for the shake up, and all of us a little more serious about the work. TSP was like being in a young band. We had nothing but raw ideas and energy, no thoughts of playing to an audience, touring around comic conventions selling our little hotcakes. It was fucking terrifying, but I'd  already been through scarier shit. These were my new art friends, and this was my new path, and I never looked back. Seeing my garbage chicken-scratches in print drove me to draw better, faster, too. 

I think Nick had the hardest time switching gears. He had known Shane since childhood, and Nick had brokered the whole deal. But we all eventually just drifted with Michel over to Black Eye Productions. I think Michel called and said TSP was over, but did I want to keep doing SIN with him. Just like that. Then he moved to Montreal. I moved back to Toronto for a bit, before resettling in Guelph with a  marriage and two babies. We grew up and moved on, but never completely lost touch. Nick and Michel are like family to me. Which means I remember to call them once- or twice-a-year to ask them how they're doing. Because I'm awful.

_______________________________

UPDATE BY BK MUNN:

And the rest is history! Michel Vrana went on with Black Eye to publish more comics by Dylan Horrocks and Jay Stephens, as well as work by Matt Madden, Tom Hart, Jason Lutes, Jeremy Eaton, and more! Black Eye's original run was from 1993 to 1998. It returned just over twenty years later in 2019 to publish the final issue of Dylan Horrock's Pickle (#11) and since then has reestablished itself as a boutique indy publisher of crowdfunded comics. Jay Stephens published his award-winning horror series Dwellings through the revived Black Eye. Besides Pickle and Hicksville, Dylan Horrocks went on to a bevy of comics projects, including the graphic novel Sam Zabel and the Magic PenNick Craine went on to create two graphic novels based on the films of Bruce MacDonald, Dance Me Outside and Hard Core Logo: Night of a Thousand Punks, and, besides a brief stint inking Mike Allred's X-Statix comics at Marvel, most recently published a new comic, Parchment of Light: The Life and Death of William Shakespeare.


Tuesday, August 20, 2024

Comics in Film: State of the Union


Comics in Film: State of the Union, 1948.

by BK Munn

Van Johnson pulls a copy of Walt Disney Comics & Stories #85, published in 1947, out of his inside jacket pocket. In this scene from Frank Capra's satire of U.S. presidential politics, Johnson plays a cynical journalist-turned-campaign-manager opposite Katharine Hepburn's wife of the presidential candidate Spencer Tracy. Johnson has come to ask Hepburn to welcome her husband's mistress (Angela Lansbury) back into her home for the good of the campaign but the tense scene is interrupted by Tracy and Hepburn's children who are packing aid boxes for European refugees and have run out of comic books and bubble gum. Johnson shows his childlike innocence and working class bona fides by magically producing this Donald Duck comic, an indication that he isn't really a bad guy like the rest of the evil cabal who are slowly corrupting Spencer Tracy for their own special interests. In a later scene, it will be Johnson who urges Hepburn to fight for her husband by giving a radio speech that ultimately derails the campaign and brings Tracy back from the dark side. Comics are again used in that final scene to signify Capra's brand of liberal working class idealism when a lighting gaffer is shown reading a Brick Bradford science fiction comic during Tracy's ultimate speech.

 



Friday, May 31, 2024

Recent Reviews: May













Summer Lightning by P.G. Wodehouse

I laughed. I cried. Beautiful sentences. Beautiful paragraphs. Beautiful chapters. Beautiful novel.  5/5












Criminal, Vol. 7: Wrong Time, Wrong Place

by Ed Brubaker and Sean Phillips

At this point I know what I'm getting with these: a bit of quick and dirty fun. This one is a two-part graphic novel, or two short stories, one told from the p.o.v. of recurring Brubaker character, career criminal Teeg Lawless, and one told from the viewpoint of his preteen son (and getaway driver), which has some bittersweet nostalgic touches. Of course I liked the fact that both father and son read comic books and they are incorporated into the story, dimly echoing an aspect of the characters' psyche. The dad reads a black-and-white pastiche of Savage Sword of Conan with lots of naked women in it, and the kid gets hooked on old issues of a Werewolf-by-Night/Chang-chi mash-up called Kung-fu Werewolf, both published by something like the short-lived 1970s Skywald outfit. 3/5













Zombie by Joyce Carol Oates

I loved the Nineties-ness of this whole package, from the book jacket design, to the serial-killer p.o.v., to the inclusion of the narrator's hand-drawn doodles. Tightly-written with some suspenseful structure. 3/5












Calcutta Chromosome: A Novel of Fevers, Delirium and Discovery

by Amitav Ghosh

Complex, funny, hallucinatory sci-fi horror-thriller about an immortal cult of anti-science scientists that may or may not exist. I liked the jumbled structure, with two different time-periods and point-of-views, investigating a mystery going forward and backward, with epistolary and other classic novelistic devices. Open-ended and baffling, but in a good way. 3/5













The Mysterious Underground Men (Ten-cent Manga)

by Osamu Tezuka,  Ryan Holmberg (Translator)

Tezuka's first longform "story manga" is a charming children's science fiction tale of a boy inventor and an anthropomorphic rabbit on a quest to tunnel through the earth in their rocket train. Equal parts Jules Verne, Tom Swift, and Floyd Gottfredson, the feverish plot revolves around an apocalyptic war with the titular subterranean civilization. The common Tezuka theme of what it means to be human is embodied in the highly capable Mimio, the rabbit character given intelligence by a cadre of Frankenstein-esque scientists, who must prove his worth by saving his friends and humanity. In his Pinocchio-like agonizing, Mimio anticipates later heroes in the Tezuka pantheon like Astroboy. 3/5

________

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Thursday, April 11, 2024

R.I.P. Trina Robbins

(Communist dinner table panel from the adaptation of the 1927 novel "Red Love" by Alexandra Kollantai, serialized in Renegade Romance #1-2, 1987.)


by BK Munn

This Trina Robbins dinner table panel sums up every meal my wife and I ever share! R.I.P. Trina Robbins (1938-2024). The great feminist cartoonist and historian broke through into the pantheon with her underground classic It Ain't Me Babe and created the first comic featuring an "out" lesbian in "Sandy Comes Out" in Wimmen's Comix #1. She designed the character Vampirella and was the first woman to draw Wonder Woman for DC Comics. She was such a revolutionary she was actually featured in the first verse of Joni Mitchell's "Ladies of the Canyon." She was a fashion designer, an editor, a muse, a leader, and organizer. Trina herself was a tireless and groundbreaking researcher and comics historian, responsible for a seemingly endless series of history books that studied and popularized the careers of women in comics dating back to the 1800s. She was an amazing spirit and had a legendary life! Rest in Power, Trina!

As a preteen kid, I first encountered her through a page in Les Daniels' history book Comix (found in the Public Library) which reprinted a collaborative comic with her then-partner Kim Deitch announcing the birth of their daughter. One of Trina's panels on that page depicted a who's who of famous women superheroes, alongside Trina's own creation, the half-woman/half-cat Panthera, who tantalizingly went about topless. The first whole comics story I read was her adaptation of Sax Rohmer's "Dope" in the pages of Eclipse Monthly circa 1983. I've collected her comics ever since as well as her history books which have made an immeasurable impact on my understanding of comics history and my knowledge of women cartoonists, and one of the pillars of my own ongoing Comics Canon project. 




Friday, April 05, 2024

Comics in Film: Super Gal in "Ensign Pulver" (1964)

 


Comics in Film: Super Gal nose art in "Ensign Pulver" (1964).

by BK Munn

The character of Supergirl, the cousin of Superman, was first introduced in Action Comics #252 in May, 1959, but it is unknown if this image is intended as a reference to the comic book character or is just an ironic gender flip of Superman typical of the humour exhibited by the artists who painted plane fuselages during World War II. If an intended reference, the image is an anachronism, since Ensign Pulver is set in the 1940s. In the film, a sequel to the 1955 John Ford-directed film Mister Roberts, a planeload of nurses lands on a Pacific atoll and become wound up in the redemption arc of the title character, heroically helping him perform an important operation. (The sequel retains the same characters but replaces all the actors. Jack Lemmon won the Oscar for his portrayal of Ensign Pulver in the original, but he's replaced here by relative unknown Robert Walker Jr.) There was a comic book adaptation of Ensign Pulver, published by Dell in 1964, but I'm unsure if the "Super Gal" art was reproduced there.

Sunday, February 25, 2024

The Best Records of 1982!

 


PEAK POST-PUNK!

by BK Munn

It's taken me over 40 years, but I've finally whittled down my list of the Best Albums of 1982!

As I wrote in my notes for 1986, the first one of these I attempted, this list comes with a number of caveats and blindspots, and I think I'm going to stick with the same quirky, personal format. So: this is a largely English-language, rock-oriented list reflecting my continued fetish for post-punk and garage rock sounds. There are a couple German records here, but that's about it. In part, this is a nostalgic list, but as usual most of the records here were totally unknown to me at the time. Some are new to me this week, but most have crossed my path at some point over the last four decades, and many I even own in vinyl format!

In 1982, I was only 12 but obsessed with not only Top 40 radio but also the synth pop and New Wave sounds coming out of Toronto's fm station CFNY.  I distinctly remember hearing the dj for Hamilton's CKOC introduce Eddy Grant's "Electric Avenue" for the first time. I was a year or two away from real teenage rebellion and the discovery of our local college radio station CFRU, but nevertheless I thought I was cool because I had discovered David Bowie and listened to Scary Monsters and the ChangesOne compilation incessantly (Let's Dance didn't come out until 1983, I think). My tastes have changed since those days, but some of the records I liked back then I still like, meaning I can still stand to listen to them without too many unpleasant associations.

This is not true for most of the big hits of the day. 1982 was the year of Michael Jackson's Thriller and despite it's continuing centrality to our culture and Western Civilization, I feel close to blowing my brains out whenever I hear the opening notes of any of the megahits from that album these days. I was pretty much burned out on that record by 1983, even as a kid. Ditto for most of the 1982 Top 40. 

1982 was a year that funk and hip-hop started to register with white people, post-Disco, but my list has very little of either. I decided to eliminate jazz from the list as well, even though there are excellent records from giants like Ornette Coleman, Nina Simone, and Alice Coltrane that year, as well as jazz-inflected things like Rip Rig and Panic, and Indian and African stuff like Rupa and Manu Dibango that interest me. No soundtracks on this list either, even though Morricone (The Thing) and Vangelis (the amazing Blade Runner soundtrack) were out there (David Lynch released his soundtrack for 1977's Eraserhead in 1982 as well). 

I'm pretty proud of my curation of the first 30 or so records on this list, but to be honest, the rest of the list is more or less a random assemblage, with not much thought given to rankings. I have another 20 or so records that I could easily substitute for any 20 of the records in the bottom 52.  Maybe I'll post those separately. For now I'm sticking to the gimmick of matching the number of slots with the year, so I'm limited here to 82 in total. I'm sure I've missed something! Let me know!

  1. The Fall, Hex Education Hour
  2. Lilliput, Lillput
  3. Kate Bush, The Dreaming
  4. English Beat, Special Beat Service
  5. Gang of Four, Songs of the Free and Another Day/Another Dollar
  6. Grandmaster Flash & the Furious Five, The Message 
  7. Trio, Trio aka The Album/Da Da Da
  8. REM, Chronic Town
  9. Daniel Johnston, Don’t Be Scared
  10. Prince, 1999
  11. Cocteau Twins, Garland
  12. Sonic Youth, Sonic Youth
  13. The Clean, Great Sounds Great, Good Sounds Good, So-so Sounds So-so, Bad Sounds Bad, Rotten Sounds Rotten
  14. Gun Club, Miami
  15. The Clash, Combat Rock
  16. The Cure, Pornography
  17. Blue Orchids, The Greatest Hit (Money Mountain) 
  18. Siouxsie And The Banshees, A Kiss In The Dreamhouse
  19. Dead Kennedys, Plastic Surgery Disasters
  20. Waitresses, Wasn’t Tomorrow Wonderful
  21. Simple Minds, New Gold Dream (81-82-83-84)
  22. X, Under the Big Black Sun
  23. Talking Heads, The Name of This Band is Talking Heads
  24. Chic, Tongue in Chic
  25. TV Personalities, Mummy Your Not Watching Me/They Could Have Been Bigger than the Beatles
  26. The Birthday Party, Junkyard
  27. Wall of Voodoo, Call of the West
  28. Fleshtones, Roman Gods
  29. Judy Nylon and Crucial, Pal Judy
  30. Laurie Anderson, Big Science
  31. XTC, English Settlement
  32. Familie Hesselbach, Familie Hesselbach
  33. Lee "Scratch" Perry and the Majestics, Mystic Miracle Star
  34. Tom Verlaine, Words from the Front
  35. Nightingales, Pigs on Purpose
  36. Misfits, Walk Among Us
  37. Nurse With Wound, Homotopy to Marie 
  38. John Cooper Clarke, Zip Style Method
  39. Johnny Thunders & The Heartbreakers, D.T.K. (Live At The Speakeasy)
  40. The Jam, The Gift
  41. Marine Girls, Beach Party
  42. The Sound, All Fall Down
  43. Pere Ubu, Song of the Bailing Man
  44. Romeo Void, Benefactor
  45. D.O.A., War on 45
  46. Iron Maiden, The Number of the Beast
  47. Eddy Grant, Killer on the Rampage
  48. Tall Dwarfs, Louis Likes His Daily Dip
  49. Bauhaus, The Sky's Gone Out/Press The Eject and Give Me the Tape
  50. Cleaners from Venus, Midnight Cleaners/On Any Normal Monday
  51. George Clinton, Computer Games
  52. The Psychedelic Furs, Forever Now
  53. African Head Charge, Environmental Studies
  54. Material, One Down
  55. Duran Duran, Rio
  56. Culture Club, Kissing to Be Clever
  57. Bad Brains, Bad Brains
  58. The Descendents, Milo Goes to College
  59. Mission of Burma, Vs.
  60. Brian Eno, Ambient 4: On Land
  61. Neil Young, Trans
  62. Thomas Dolby, The Golden Age Of Wireless/She Blinded Me With Science
  63. Lou Reed, The Blue Mask
  64. Flipper, Album Generic Flipper
  65. King Sunny Adé and His African Beats, Juju Music
  66. Yazoo, Upstairs at Eric’s
  67. Bruce Springsteen, Nebraska
  68. Grace Jones, Living My Life
  69. Madness, The Rise and Fall
  70. Rick James, Throwin Down
  71. Go-Go’s, Vacation
  72. Devo, Oh No! It’s Devo
  73. Nina Hagen, NunSexMonkRock
  74. Motorhead, Iron Fist
  75. Fear, The Record
  76. Men Without Hats, Rhythm of Youth
  77. Peter Gabriel, Security
  78. Bow Wow Wow, I Want Candy
  79. Hunters and Collectors, s/t
  80. Strange Advance, World’s Away
  81. Dream Syndicate, The Days Of Wine And Roses
  82. A Flock of Seagulls, s/t

Sunday, November 26, 2023

SETH'S POSTCARDS

 

Kara and I had fun seeing the new show of Seth art at the RICA Gallery here in Guelph last night. We also hung out with some other Seth fans and art buyers after the preview/launch and I was really amazed at the diverse group of people who are into his work. Many have come to him through his "non-comics" paintings and sculptures and his gallery agent Renann Isaacs should take a lot of the credit for turning these folks on to the work and hustling to develop a strong local market (although there were collectors from New York and Toronto on hand and I suspect some long-distance/overseas sales as well). I talked to people who are not comics nerds and who couldn't tell an issue of The Comics Journal from Wizard Magazine from Bubbles (in one discussion about contemporary Canadian figurative painters working in a realist style like Kent Monkman and Atilla Lukacs, the idea of studio assistants came up which led to a discussion of comic book assembly-line production techniques, ghost artists, and manga studios, and I had to bite my tongue a bit when the fellow I was talking to said something like, "Is that how Stan Lee drew his comics?"). Wisely, Renann and Seth created a show of small pictures, priced to sell. They are fun little things, very Seth-y, but as the artist admitted, not much thought went into the titles or artist statement (I'm attaching the local news article for some choice Seth quotes). Which is all to say, a good time was had by all. I think the entire show is going to sell out: most of the paintings were sold by the second night, and the show runs until December 23. I didn't take any pictures, so I'm stealing the photos from Renann's Facebook feed for those who aren't friends with her.

Seth and Renann Isaacs (photo credit: Margaret Langton)