In truth, this was supposed to be just a blurb in the Fall A&E Preview issue a few weeks ago, but it was rescheduled, which meant I could actually spend more space and time on it. That was fine by me, because I had to cut out a lot of material, mostly about the delightful, talented and charming curator of the new gallery space, Michelle Irish. While the concept for the “Artist Spotlight” was conceived by another Alternate Reality employee, Paul Tompkins, Michelle is the one who ran with it. But I guess you can read more about that in the article, huh?

I just wrapped up two other editorial pieces and an illustration commission, so hopefully you’ll be seeing/hearing more about that stuff soon. Otherwise, I’ve had my head down as I forge ahead with Vegas Valley Comic Book Festival-related projects, a few of which I’ll be blogging about here very soon, including the opening reception for “Seduction of the Innocent,” an art show celebrating Banned Books Week that happens next Friday. Stay tuned.

My first time there, finally, was a few months ago to attend the opening reception for local artist Steven Spaan’s “Trash=Art” show at the P3 Studio. Yes, that’s right: The Cosmopolitan’s plan to draw local aesthetes otherwise uninterested in nightlife or gaming to a Strip resort worked. This place was definitely designed with hipsters in mind, from the underground parking structure’s graffiti-art walls and the pool tables in the common areas to the Art-o-Matic vending machine and the nameless, hidden pizza joint that serves PBR. I liked it enough, though when the girlfriend and I tried to find somewhere to eat that wasn’t too fancy but wasn’t pizza, it became a bit of a challenge, because we’re simple people and the menus of even the tapas and Mexican-Chinese fusion places were a bit challenging.

When I returned to the Cosmopolitan on a lazy-ish Saturday afternoon to do my reporting for this week’s Vegas Seven article on Kidrobot’s summer takeover of P3 Studio, I found myself warming up even more to the place. After spending some time in the cool little Kidrobot store and chatting with Frank Kozik in the studio, I headed down the escalators of the Chandelier Bar to grab a drink while I reviewed my notes. The bar was mostly filled with a mix of people (though mostly under 30), but I grabbed an open spot between an old man and two young women. The bartender, a younger guy himself, had an old-school charm, seeming genuinely interested in the welfare of his patrons. He made me a perfect drink, checked in on each of the other customers and made some weak attempts at flirty humor with the girls next to me. He asked about what I was writing and how the interview went. It was … nice.

I know that the Cosmopolitan’s inviting nature to decidedly non-gambling 20- and 30-somethings hasn’t helped it’s bottom line much, despite being insanely popular (read this excellent feature in VEGAS INC for more on that), so my enjoyment of the space without being inclined to empty my wallets doesn’t help them much. But I can dig what’s going on there, and the attention put into the little things. Like a well-crafted cocktail. A friendly bartender. Or a store full of vinyl toys chomping cigars.

I didn’t plan to do something like this. Arts & Entertainment Editor Cindi Reed saw me post on Twitter about entering the competition, and then asked me if I’d be interested in writing first-person about the experience. I offered to do a journal-style report. Unfortunately, there was no time throughout the weekend to actually keep a journal. So it ended up being something more like a retrospective account. But I think it’s pretty entertaining and indicative of the controlled chaos of the weekend. The art director at Seven made a really nice two-page spread, so if you can’t pick up a free print edition, check out the interactive digital edition.

Our film did have its premiere last night at the Century 16 Suncoast theaters, and it went pretty well. As well, the short film itself is posted online now. That video — along with photos from last night’s festivities and a lot of other content you might enjoy — is on the Mechanical Cow productions page. Like us, won’t you? You’ll thank me later.

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.

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!

Yep. I’ve got art in another group show, this one a showing of original comic book art by Las Vegas-based creators (not to be confused with the other original art show I’ll be in next month as well at Blackbird Studios; more on that to come) called “Drawn in the Dust.” Curated by my man Dustin Wax at the UNLV Barrick Museum, it features all of the fine people listed above, which is a pretty diverse crew. I’ll be showing two pages of original art from my story in Omega Comics Presents #3. Which you should have pre-ordered by now, right? RIGHT?

It would be lovely to see all your faces at the opening reception from 5 to 7 p.m. on Friday. I’m sure there will be refreshments, and I believe most of the artists should be in attendance to bask in your admiration and worship. As I am in the midst of Detox Week 2010, I will not be drinking, and I will probably be starved, so if I sniff your hair or bite your arm, well, sorry in advance.

Oh, and after that, you should head downtown to the El Cortez, where Vegas Seven is presenting “The Tell,” a Vegas Valley Book Festival pre-event featuring an evening of seven true, unscripted stories about cheating. It features a number of friends including host Dayvid Figler, Cindi Reed, and a number of other respected storytellers. The thing starts at 8 p.m. for cocktails (none for me) and 9 p.m. for, um, talking. Here’s a Facebook event!

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.

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 lot of people — including my editor — suggested that the meeting should have been exciting, especially for a guy such as me, who grew up reading comics Lee either wrote or created. But at this point, I’ve developed such a professional detachment from my assignments, that I merely did what needed to be done and got on my way. The situation itself was underwhelming anyway. As described in the article, Lee’s offices are smallish, his staff nearly nonexistent, and the interview was sort of rushed and subdued. But Lee was accommodating, gracious and funny, which is really the best you can ever hope for in these situations.

But you know I couldn’t leave without documenting the occasion, right?

Excelsior!

Photo by Erik Kabik/RETNA.com/erikkabik.com

Seriously, I was going to write a semi-review of last night’s opening night performance of Dita Von Teese’s limited run with the Crazy Horse Paris at MGM Grand, and I got about four paragraphs into it, and then I realized IT SUCKED BALLS, like everything else I’ve done today, so … I scrapped it.

Instead, I think you’d be much better off reading the article I wrote about Von Teese in this week’s Vegas Seven. It does not suck balls. I did the interview with the lovely burlesque icon via phone last Friday, but that’s not how it was supposed to be. My original plan was to do an in-person interview with her at the Crazy Horse this week, and to actually observe and report on the interaction between Von Teese and the insanely beautiful Crazy Horse dancers. It was all lined up for Monday, but as things go in the world of entertainment journalism, dates and times were shifted and crossed, and in order to meet the deadline for the paper, I had to switch to a phoner and realign the focus of the story.

The conversation with Von Teese was relatively brief but chock full of goodies. Unfortunately, a lot of the topics we discussed didn’t make it into the article, lest it run way over word count and lose all focus. But it’s a shame to see it go to waste, so I’m going to share with you an excerpt from the “outtakes” here. I asked Von Teese what differences she perceived between European and American approaches to sexuality. Here’s part of what she had to say:

I have to say in America in the 1940s, everyone knew who Gypsy Rose Lee was. She was a huge household name, and she did exactly what I do now. It’s hard to imagine why things have shifted so much. Josephine Baker received honors in France for what she did, and she was butt naked, there are streets named after these people. [In France] everyone knows what I do, children know what I do. People aren’t embarrassed of it or afraid of it. Showgirls are a part of Parisian culture. I don’t know why it’s so taboo in America. My life’s work is to change people’s mind about what a stripper is, and how strip tease can be artful, and how it can be an important part of America’s entertainment history.

There was more, but I’ll probably save that for the collection of unabridged interviews I’m assembling for future publication. A few people have indicated they’d be interested in reading such a thing. Would you? A book featuring full interviews with celebrities, politicians and other interesting people? Let a brother know.