St. Paul, 1974; soundboard recording uploaded by YourArf.
Category: Politics
Funky as an Old Toenail
A 2008 interview with George Duke -- this one's got little directly to do with Zappa, but he gets a namedrop and there are certainly moments that are Zappa-esque.
Uploaded by HeadsUpRecords.
It's Marvel v Kirby, not Kirby v Marvel
I haven't had time to read the full judgement yet in the appellate court's recent decision in Marvel's favor in Marvel v Kirby.
What I have had time to read is multiple otherwise-reliable comics sites getting the basic facts of the case wrong -- indeed, the most basic fact of the case, which is who sued whom.
Matt D Wilson's article on the story at ComicsAlliance says,
Kirby’s heirs brought their suit over the characters in 2009, as the push to make huge-grossing movies featuring characters Kirby co-created (like The Avengers, which has made more than $1.5 billion) was really heating up. Marvel and parent company Disney countersued the next year.
(Wilson also incorrectly claims that the rights to the Silver Surfer were part of the dispute -- they weren't; the dispute concerns works created between 1958 and 1963, and the Surfer first appeared in 1966 -- and then misspells Gary Friedrich's name.)
Heidi McDonald's piece at Comics Beat -- a site which is ordinarily one of the best for coverage of comic book copyright disputes, due to lawyer Jeff Trexler's contributions -- is titled "Marvel wins appeal in lawsuit brought by Jack Kirby’s heirs", and its first sentence also refers to "a lawsuit bought by Jack Kirby’s heirs". Which is fucking baffling considering that right there on the same page Ms. McDonald has embedded a PDF named marvel-v-kirby.pdf that starts out like this:
11-3333-cv
Marvel Characters, Inc. v. KirbyUNITED STATES COURT OF APPEALS
FOR THE SECOND CIRCUIT
August Term, 2012
(Argued: October 24, 2012 Decided: August 8, 2013)
Docket No. 11-3333-cv
-------------------------------------
MARVEL CHARACTERS, INCORPORATED, MARVEL WORLDWIDE,
INCORPORATED, MVL RIGHTS, LLC,
Plaintiffs-Counter-Defendants-Appellees,
WALT DISNEY COMPANY, MARVEL ENTERTAINMENT, INCORPORATED,
Counter-Defendants-Appellees,
- v -
LISA R KIRBY, NEAL L. KIRBY, SUSAN N. KIRBY, BARBARA J.
KIRBY,
Defendants-Counter-Claimaints-Appellants.
-------------------------------------
Before: CABRANES, SACK, and CARNEY, Circuit Judges.
Again, I haven't had time to read the full judgement yet -- but Heidi McDonald apparently hasn't had time to read the first line, the list of parties, or the filename.
And look, I really like Heidi McDonald, and I really like Comics Beat. But I think this is terrible. It's one thing for somebody in the comments section to spout the common misconception that the Kirbys sued Marvel -- hell, it's pretty much a given! --, but it's another entirely to see it in the headline on a reputable site.
The Kirbys did not sue Marvel in 2009. They filed for termination of copyright transfer. Marvel sued them in 2010; only then did the Kirbys countersue.
I am sure that this is an honest mistake, on McDonald's part, on Wilson's part, probably on the part of some (but certainly not all) the people who repeat the same misinformation in various comments sections across the comics Internet.
But while it may be an honest mistake, it is not a trivial one.
Facts are important. Details are important. The question of who sued whom is important.
The claim that the Kirbys sued Marvel in 2009 is false. That is not a matter of opinion; it is not subject to dispute. The Kirbys did not sue Marvel in 2009 -- that is a fact.
Any narrative which maintains that the Kirbys sued first is, likewise, false, and presents an incorrect, misleading picture of the very nature of the suit.
And that even someone like Heidi McDonald, who is sympathetic to the Kirbys, has inadvertently bought into and repeated the false narrative that they sued first says a lot about how pervasive that narrative has become.
Private Prisons
I wrote something yesterday that forumgoer Mothra referred to as "a Thad mic drop", so I figured it might be a good idea to repost here. For posterity and stuff.
Mothra had brought up the Kids for Cash scandal, which has been in the news recently due to the Third Circuit's rejection of Mark Ciavarella's appeal.
The short version of the story is that two judges accepted bribes from the owner of a private juvenile detention center, in exchange for sending as many children there as possible.
I'm not a religious man, so when I say that there is a special place reserved in Hell for them, what I actually mean is "a minimum-security prison".
Anyhow, here's what I wrote yesterday; originally posted on Brontoforumus.
There are a lot of industries I hate. A lot I see as hopelessly, incurably corrupt, as industries whose very function is to profit from human suffering.
Health insurance. Investment banking. Oil and coal. Weapons. Newscorp.
But the private prison industry is the very worst.
The very proposition of creating a profit incentive for putting people in prison and keeping them there is one that should result in only two reactions: laughter that the notion is farcical; disgust at the realization that people are serious about it.
Have I mentioned the private prison lobby's role in crafting SB1070 lately? Because here, let me just link this again:
Prison Economics Help Drive Ariz. Immigration Law, by Laura Sullivan, NPR, 2010.
George Duke, RIP
Via uploader Jimmie B, here's a 1975 performance of Uncle Remus.
Kirby4Heroes
Last year on Jack Kirby's birthday, I covered Kirby4Heroes, his granddaughter Jillian's fundraiser for the Hero Initiative, a charity for down-on-their-luck comics creators.
Well, this year's Kirby Day is a few weeks off yet, but the young Ms. Kirby has just unveiled the Kirby4Heroes Facebook Page, and has more work coming up.
Readers of this site will know that I don't really do the Facebook thing, but statistically speaking you probably do, so go Like and Share and whatever it is you kids do. And even if you don't have a Facebook account, you can still take a gander at some great family photos on the site -- spanning Jack and Roz's entire lives.
And if you've got a few bucks to spare for the Hero Initiative, please do. Remember the sad stories of guys like Robert Washington -- it's a tough damn business, and its brightest stars seldom get the recognition or thanks they deserve -- and fair wages are rarer still.
Thanks, Jack. And thanks as well to Jillian.
Judging Congress
Dear Speaker Boehner,
I recently read your comments that Congress should not be judged on how many new laws it creates, but on how many laws it repeals.
Given that this Congress has repealed a total of zero laws, can you tell me what the thinking behind that statement was?
Was it (1) an honest admission that this really IS the worst Congress in history, (2) did you, as Speaker of the House, not actually know how many laws your Congress has repealed, or (3) did you just figure the American public is stupid and nobody would look it up?
Thanks for your time, and I look forward to your response as it will help settle a bet with my wife. (She says it's 2, but it's gotta be 3, right? Don't let me down, Mr. Speaker.)
Kisses,
Thad
Freeman Report, Part 5
Not feeling so hot this evening -- indeed, I feel so lousy that I did not buy comics today, despite having finished last week's -- so I'm going to forego my regular daily post and go straight to Zappa.
Anyway, here's the finale. Zappa talks about drugs, of the legal and illegal varieties.
And then, food.
And then more on legal drugs, the occasional moment where he sees a politician say something honest and courageous, and closing out talking about his kids.
Freeman Report, Part 4
Occupy Comics
While I was partial to the DeMatteis/Cavallaro piece in #1, the piece of the Occupy Comics anthology that everybody seems to be talking about is Alan Moore's (prose) history of the American comics industry. And that's plenty understandable. Moore's Dry British Wit is at its best here, with his faux-fair-and-balanced choice of words (where he repeatedly points out that original DC publisher Harry Donenfeld was merely an alleged mobster).
A lot of this is ground that's been tread many a time before, notably but not exclusively in Men of Tomorrow by Gerard Jones and The Ten-Cent Plague by David Hajdu (Amazon wishes me to note that those are affiliate links and I get a kickback from them, whereas I wish Amazon to note that Gerard Jones's name is not actually Gerald). But Moore brings his own entertaining little flourishes:
The Comics Code itself, a long standards and practice document, is interesting mainly for the eccentricity of its demands (the living dead and treating divorce humorously are both seen as equally offensive, with this stipulation aimed presumably at titles such as Zombie Alimony Funnies, which I've just invented so please don't write in), and for the curious specificity of language in which those demands are framed. For instance, in the Code's insistence that no comic book should have the words 'Horror' or 'Terror' as a prominent part of its title, it is difficult not to suspect that this is legislation which has been designed expressly to put E.C. publications out of business. The one way in which the Code could have accomplished this more blatantly is if they'd added words like 'Vault' or 'Mad' to the above forbidden list.
It's a good story, and it's well-told. And it leaves me curious as to whether and when Moore will collect it in book form.