K as in Knife
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All strips are supposed to be entertaining, but some strips have a point of view and a serious purpose behind the jokes. When the cartoonist is trying to talk honestly and seriously about life, then I believe he has a responsibility to think beyond satisfying the market’s every whim and desire. Cartoonists who think they can be taken seriously as artists while using the strip’s protagonists to sell boxer shorts are deluding themselves.
“The world of a comic strip is much more fragile than most people realize or will admit. Believable characters are hard to develop and easy to destroy. When a cartoonist licenses his characters, his voice is co-opted by the business concerns of toy makers, television producers, and advertisers. The cartoonist’s job is no longer to be an original thinker; his job is to keep his characters profitable. The characters become ‘celebrities,’ endorsing companies and products, avoiding controversy, and saying whatever someone will pay them to say. At that point, the strip has no soul. With its integrity gone, a strip loses its deeper significance.
“My strip is about private realities, the magic of imagination, and the specialness of certain friendships. Who would believe in the innocence of a little kid and his tiger if they cashed in on their popularity to sell overpriced knickknacks that nobody needs? Who would trust the honesty of the strip’s observations when the characters are hired out as advertising hucksters? If I were to undermine my own characters like this, I would have taken the rare privilege of being paid to express my own ideas and given it up to be an ordinary salesman and a hired illustrator. I would have sold out my own creation. I have no use for that kind of cartooning.
”

A 1957 letter from J.D. Salinger, on why Catcher in the Rye shouldn’t be translated to the stage or screen.
“Homo Ludens - Vancouverites at Play”
From The Vancouver Soundscape recorded between September 1972 and August 1973, as part of The World Soundscape Project, a pioneering work in acoustic ecology.
“Cosmic Clock,” Al Jarnow
Al Jarnow’s animations are surely more famous than he is. He created several legendary anonymous short films for public children’s programs (including Sesame Street and 3-2-1 Contact) from the 1970s-90s that work as both educational tools and experimental film mini-masterpieces — all while paying the bills with teaching and software development gigs. The good folks at Numero Group have just released a collection of Jarnow’s astounding work, including pieces like the magical one above.
Tommy Jay, “Memories” (1986)
Haunting basement-DIY-synth country from Ohio, with a decided Mayo Thompson influence. Reminds me somewhat of my friend Kevin Bewersdorf’s music: toeing a delicate line between electronic and organic, strangely funny and emotionally sincere.


Sue Tompkins, “Fruit Works”
A “typewriter drawing” from poet-writer-singer-artist extraordinaire Tompkins, former lead singer of the much-missed Life Without Buildings. This piece brings some of the energy of her live performance to the page.
French writer Félix Fénéon led a heck of a life: being the first to publish Joyce in French, discovering Seurat, editing Rimbaud, writing journalism for Le Figaro. But his most noteworthy achievement, perhaps, came toward the end of his life, when he wrote a proto-crime blotter for Le Matin, penning terse, grim — and often hilariously sardonic, even poetic — accounts of French crime and death. Many of these reports were collected in the aptly-titled anthology “Novels in Three Lines,” published by the always-essential New York Review of Books Classics line and translated by the great Luc Sante. Fénéon was a master of one of my favorite tricks: saying a lot with a little. Here is but a small selection of some personal favorites:
“La Pologne,” La France Chasons (2007)
I have expressed my love of the lost pop genius John Pantry here before, a love shared by the French filmmaker Serge Bozon. Bozon’s beautiful 2007 war musical LA FRANCE, in fact, features soldiers singing melodies inspired by (or directly lifted from) Pantry songs. This particular track takes the lovely, infectious refrain from Pantry’s “Gospel Lane” to new heights. Thanks to my friend Michael Lieberman for finding this.