Journalism

I really meant to post this a week ago, which would have made sense since that’s when the issue of Vegas Seven in question actually hit stands, but life (or something like it) got in the way, so here we are: My look at the transformation of Laura Henkel Fine Art into Sin City Gallery ran as the lead A&E feature in Feb. 10′s issue of Seven. Of course, everyone’s already read the story, because it seems to have been passed around on Facebook, Twitter and I guess 60,000 or so copies of the print edition, which celebrated its one-year anniversary with that issue.

That’s a pretty major milestone, actually. Ninety percent of all new magazines don’t survive the first year. I might have made up that number, but it sounds right. And as someone who previously ran a magazine for this same publisher that only survived 11 months, I know a little something about that first-hand. It’s a testament to the staff’s combined talents, the company’s sales and marketing savvy, and maybe even the recovering economy that a THIRD newsweekly in a shrinking market has done so well.

I’m glad that I’ve been able to be a contributor to Seven from the beginning. When I was still employed full-time by Wendoh Media (its publisher), I was privy to discussions and meetings on the planning of the then-unnamed weekly (two years before its debut!), and even then, I thought the publishers were crazy. But apparently, they knew what they were doing. So, Ryan, Justin, Phil, everyone — congrats on your achievements, and thanks for letting me play in the sandbox every so often.

Hmm. Those are a lot of numbers in that blog title.

A few months ago, As Yet Unbroken was invited to perform at the opening reception for a group art show at Studio 8 Ten. I’d heard the name of this place before, but had no idea what it was. So, not wanting to just show up with my drums ignorantly, I did a little research, and discovered that Studio 8 Ten is the public venue for Transition Services, Inc., which provides employment opportunities for adults with intellectual disabilities.

It was cool that I could help out such a noble venture by providing a loud soundtrack for the art show, but after getting to know the staff and employees a bit, I wondered why more people didn’t know about this place. And when it was brought to my attention that not only was Transition Services launching a new venture (Circles magazine), but also had a holiday open house planned, I figured it was a good time to shed some light on the little shop. Thankfully, my editors at Vegas Seven agreed, and so we have today’s article all about Studio 8 Ten.

Even as you’re reading this, I’m probably checking out the open house there. If you still have last-minute Christmas shopping to do, why not stop by 810 Las Vegas Blvd. S. this week and buy some locally produced, handmade gifts? Why not indeed!

As you’ve likely heard by now, Bernie Schwartz, better known as Tony Curtis, died today at the age of 85. Normally, a celebrity death, while tragic, wouldn’t mean much to me. But upon hearing the news of Curtis’ passing, I choked up a little, because I had the honor of getting to know the actor and artist in his later years.

I first encountered the Hollywood icon at his 80th birthday part, held in a few ballrooms at the MGM Grand in Las Vegas. There, I also met his lovely (and much, much younger) wife, Jill, who runs a wild horse refuge. It was the first time I’d seen his art — a collection of paintings and assemblage boxes — and I was blown away by the depth and complexity of his creations.

I had started writing for a new, Los Angeles-based magazine called Art+Living around that time, and by chance, the publisher assigned me a profile of Curtis, who I then got to know over a series of interviews, both by phone and in person at his house. After that, I’d see Curtis around occasionally at VIP events, even after he was wheelchair bound due to illness. I haven’t spoken to him in years, but I still have a place in my heart for the tough, yet warm and generous man who opened up his life and home to me, baring more than a few parts of his soul to a relative stranger.

My original profile was a 4,000-word epic. The publisher only wanted about 1,600. It seemed impossible (and unfair) to condense the life of such a man into so little words. I turned in something at about 2,500 words and let the editor do the rest. Unfortunately, what was published wasn’t only heavily edited, but some parts were completely rewritten, not because what I wrote wasn’t solid (to this day, this is one of the few things I’ve written of which I’m truly proud), but because there were outside forces wanting this to be more of a fluff piece.

So, in honor of Mr. Curtis on the day of his passing, I’m presenting the pre-edited, 2,300-word profile in its entirety for the first time ever. It’s after “the jump” for brevity’s sake. Hope you enjoy.

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I know it’s been awfully quiet around here, aside from the occasional update to let you know how many miles I’m running or whatever. It may seem like I’ve been off the radar, maybe even being lazy or in hiding or running from the Feds or being held hostage by crazed Justin Bieber fans.

Nah. I’ve just been working.

One of the things I’ve been working on is an article in this week’s Vegas Seven about the relative success of local comic book shops, especially in the face of our struggling economy. I think it turned out pretty well, and there’s a lovely picture of Ralph Mathieu inside the new location of Alternate Reality Comics accompanying it, so you should go read it.

The other things I’ve been working on … well, it’s almost tiring to think about it. I mean, my eyelids are even sagging as I type this. Let’s go to list form:

• Playing shows again with As Yet Unbroken. We went from no gigs for nine months (while we shifted membership) to five gigs in two months. And we’re in the process of recording a proper EP, something that takes a lot longer than expected when all of us have day jobs/lives/vacations/side projects/health crises/potty breaks. But it’s getting done. I’d check out the AYU website for more info on upcoming events and whatnot.
• Making art. I mean, aside from comics (which we’ll talk about in a minute). For whatever reason, people becoming aware (or being reminded) of my semi-ability to draw has led me to be invited to group art shows. There was that LVSK8 show earlier in the summer for which I painted a terrible piece, and now I’m coming back again with an original creation for a zombie-themed show at Blackbird Studios (formerly Place Gallery) in October. I’m still not quite done with it, and the show is being hung next week, so I kinda need to get on that. But it’ll be sweet when it’s done. I hope. I’ll also be at First Friday with my own Outdoor Exhibition Space next week (Oct. 1), showing original art from Tales from the Boneyard, and promoting the Vegas Valley Comic Book Festival. Speaking of which …
• I’ve been on the planning committee for the aforementioned Comic Book Festival for the last two years, but this year, my involvement has been amped up by volunteering to publish, edit and contribute to Tales from the Boneyard, an anthology of local creators to benefit the Festival’s benefactor, the Las Vegas-Clark County Library District. I know I’ve mentioned it here before, but let me just say that it is turning out way more awesome than I ever could have expected. But don’t take my word for it, see for yourself.
• Oh, comics, right. Well, in addition to the Boneyard book, there’s a fourth issue of The Utopian and a third issue of Omega Comics Presents both coming out in the next few months, and rumor has it you can go ahead and pre-order them at the Pop! Goes the Icon website right now. I’ve got a few other things up my sleeve, but mainly, once these two issues and the Boneyard anthology are out the gate, it’s mini-hiatus time for the Peej, as I recover from what feels like a six-month marathon. You know, before I start another one.

That’s pretty much it. I’ve also been trying to find time to work on a major redesign of this website that would take the focus off this blog and put it on the work itself (a portfolio, I suppose), but uh yeah right. In the meantime, thanks for reading and bless your face.*

*Sorry, Toby.

There’s a longer story behind my article in this week’s Vegas Seven, “Conventional Approach,” which explores the challenges of becoming a professional comic book writer from a somewhat personal perspective. First, you should go read it (in HTML or Flash), and linger over the nifty sequential illustration my man Hernan Valencia (he of Utopian cover fame) did to accompany it.

This piece started back in March as a vague assignment from the A&E editor (and good friend) at Seven, Cindi Reed, when I went to Seattle for Emerald City Comic-Con. She basically told me, “If you have something interesting to write about, send it to me.” But I don’t think I did. Or, at least, I didn’t at the time. I sent a sort-of rushed, half-assed 500 words to her, nothing worth reproducing here, and the response was something to the effect of “maybe something more than a blog post?”

I decided it wasn’t really worth revising. But then something struck me as spring wore on: What about a feature about the struggles of becoming a comic writer tied into San Diego Comic-Con, littered with suggestions and stories from those who’ve endured such struggles? I pitched it, Cindi liked it, gave me twice the space, and off I went. I talked to a number of writers and editors of all levels, put together a nice piece, turned it in way early, and … now I had gone too far from the “blog post,” completely cutting out the personal.

So the piece you now have the pleasure of reading is the hybrid of my own experiences and those of others, compressed into about 1100 words. Sadly, due to the revisions, some folks I interviewed had all their quotes cut. Those folks interviewed, by the way, include writers Steve Horton, Paul Tobin and Brandon Jerwa and editor Jill Beaton, all of whom are awesome people who deserve your money or cupcakes. I’m thinking about revisiting the more objective approach and beefing it up with the massive amount of unused interview material for a longer piece to pitch to a more writing-specific outlet.

You know, when I’m not spending time making comics.

p.s. You should check out the cover story by pal and Seven music columnist Jarret Keene about artist John Bell, because John Bell is awesome and I think you should buy me one of his paintings for Christmas.

A few months ago, a new magazine rose out of the Las Vegas desert like … um … I’m not sure I actually have a simile here. Anyway, DAVID Magazine launched in May (or April? One of those.), bringing to Southern Nevada a new, monthly, glossy city magazine. The thing that makes this one distinctive? It’s kinda sorta slanted toward the Jewish community. But it does it in a sneaky way that wouldn’t have you even blink. The features and ads are diverse. The quality is top-notch. And the magazine hires sexy-ass writers like me.

I was asked to write a story about a local Jewish musician. Off the top of my head, one came to mind immediately: Hal Savar, who leads the cover band Acoustic Soul. I wrote about Savar before, for the Las Vegas Weekly, but this would be a much longer feature, and I actually had a lot of material unused from my first interview with Savar. He and I met up again at a Starbucks to talk more specifically about his Jewish upbringing, which I didn’t expect played into his music so much, but it does! Kinda interesting. You should read the story.

DAVID is available for free at a bunch of places in Vegas, including Coffee Bean & Tea Leaf, Barnes & Noble, Borders, etc. There’s no online version of the stories, but I did do a really poor scan of my story if you’re interested. Click below!

The summer issue of HRH, the Hard Rock Hotel’s boutique magazine, actually came out a few weeks ago, but I was waiting to post about it until after the digital edition was live. And so it is. And so here we are.

I don’t have too much to say about my cover story on Them Crooked Vultures. Like my Muse story for the spring issue, I didn’t have a chance to interview the band (Them Crooked Vultures isn’t really doing much press), so I had to make 1200 words about a year-old rock supergroup appear out of nowhere. Thankfully, I did get a chance to see the band when it performed at the Joint in the spring, so I at least had that. To fill in the gaps, I had to use a handy-dandy series of “behind the scenes” videos Them Crooked Vultures posted on its YouTube channel. Really, it wasn’t much different than doing a basic interview with the band or being provided B-roll from a publicist, so it kinda worked out fine … I think.

As usual, my words are enhanced and accompanied by live photos shot by my pal Erik Kabik, who always does amazing work. But even more than that: I share a contributors page with one of my heroes, Cameron Crowe. Crowe, who is a good friend of rock photographer Neal Preston, turned out for the HRH issue release party/Preston photo exhibit at the Hard Rock’s new SkyBar — an event I also attended. Sadly, though, I had to run off to catch Henry Rollins at Wasted Space and left the party before Crowe arrived. I don’t know what I would have had to say to him, but he’s one of the few people (Rollins being one of the other) whose work and career has really shaped my life and I’d be interested in meeting. Well, I’d actually be more interested in learning from him, but one must crawl before he can walk, right? Right.