Infected Worldmind

Politics and Culture. A Tonic.

Who am I?

I'm general counsel for a medium-sized tax-exempt organization that helps court-involved and other at-risk populations clear barriers to success in the community.

I'm also a development/fundraising professional and provide legal advice and guidance to start-up entertainment firms.

I blog at Between the Stations and occasionally contribute to Funnybook Babylon. My ever-expanding bookshelf is here. I infrequently write about food and take pictures.

I'm also the happiest new dad in the world.

That's everything.
Recent Tweets @

twiststreet:

davepress:

The Man Behind the Comic Book That Finally Got Sex Right by Laura Hudson at WIRED.

A great article, and any time I hear a thing about Chabon working in Casanova-land I do a little twitch in my seat in excitement.

There’ve been no other comics about sex because something something superhero comics…?  Ridiculous, but people have to sell their comics, I guess— I’m not really a marketing person so I don’t really know how that works.  But at what point do we get to talk about comics without pretending (a) that anyone making a nice comic is Dorflar the Three-Eyed Wonder-Mutant and (b) defining all other comics as just the shitty ones??  Why is that the weird mythology of comics that people are so insistent upon?  Is it because, like, people got raised on Batman… he can’t just be writing a nice comic— he has to be Batman?  Sex Batman? (It’d be less weird if your Sex Batman had a little more hesitation about writing Maria Hill rape-comics but… pobody’s nerfect, I guess).

There have been lots of comics about sex (even if you don’t count manga)(I don’t know why you’re not allowed, but).  Some of them have been better than Sex Criminals.  More of them have been arguably much worse— I’d definitely rather read Sex Criminals than all the Broken Guy sex-comics.  But “There’s never been this sort of comic book"—?? I don’t know.  I’m just not a marketing guy.  I still like comics because I think they have a history, though, so that "it needs saving" myth doesn’t find purchase with me like it probably does with most people. I am looking forward to Chabon, too, though!

(Also, entirely separately but since I’m taking a while getting my morning going: this whole saying I keep hearing in connection to the “there are too many rape threats in comics" conversation— which is a delightful subject— there’s this weird thing people keep saying over, "We ALL have to do better."  Where did that come from?  It’s a nice sentiment— I don’t want to crap on the sentiment.  I think it’s great that rape threats got their own Smokey D. Bear motto, but it’s just more interesting to me how these little lines dig into people’s skulls and go viral like that.  I’m probably the only one who finds that interesting because everyone else is probably, like, paying attention to the rape threats, whereas I’m obviously not a very good person.  Sayings are interesting though!). 

The ‘comics need saving’ idea is just as silly as the notion that ‘hip-hop is dying/needs to be saved’. They’re both fine. I feel like the people who say this (and when I’m in a bad mood, I’ve been one of them) just need to read different comics or listen to different music.

What I Did During My Week Off.

zegas:

COPRA is back! Issue thirteen is here and ready to go. I’ve been wanting to get to this issue for the longest time and I’m happy to finally get it out into the world!

(Did I mention that half the print run comes with a free fold out poster?)

There’s a  lot of COPRA news brewing. Collections are beyond the planning stages and are being made — physically made! Super exciting! I’ll drop the details as soon as I know them. Compendiums are gonna happen, too, the 4th one at the very least.

Tell your friends and check in every month for new issues.

(via supervillain)

I’ve started having all my artists sign on to not work for other publishers while they’re working with me, because creator-owned can not be part time,” he added. “The rates I’m paying are better than the rates at Marvel and DC, generally, so I say, ‘You have to commit to this for six or 12 months.’ It’s gotten a nice routine going, and the three guys I’m working with next year are all very excited. I’m doing a book with Sean Gordon Murphy, one with Bryan Hitch and then one with a huge, huge artist who is still under contract elsewhere, so I can’t say his name yet. But as soon as his contract’s up, he’ll be starting with me as well.
Mark Millar, from a CBR promo piece on his MPH series with Duncan Fregedo. It’ll be interesting to see whether this sparks a trend. I’d like to see more top tier artists have the opportunity to turn down Marvel/DC for decent paying creator owned work (particularly if they have an ownership interest).

keyframedaily:

Brando, before and after make-up.

(via criterioncollection)

twiststreet:

Secrets of Internal Combustion Engine (1967) by Eduardo Paolozzi.  (Gary Panter on Paolozzi).

thekevinmarshall:

This is a perfect representation of me at work all day long.


^

thekevinmarshall:

This is a perfect representation of me at work all day long.

^

(via sea-change)

iamdavidbrothers:

nevver:

Between friends?

Make sure you click through to read the post, too.

Great post from David Apatoff - “Unless an artist makes the choices necessary for prioritization, a drawing cannot cohere.”/p>

This video may have been intended to satirize/capture the experience of engineers in corporate meetings, but I think this is a little familiar to everyone.