The headline says it all. Enjoy. Read the rest of this entry »
A week or so back, an artist I have respected for the past few years, LiShinault, shared (on her Facebook page) a work-in-progress photo of a wedding portrait she recently painted. Since I love seeing how a project comes together through its various stages, I relish getting to see photos like this one. As a result, I received permission from LiShinault to share the photo here, as well as some of the Decatur, Georgia-based artist’s other works. In addition to commission work, as noted in her bio she “primarily paints small to large-scale works across a variety of media that include mostly feminine figures and animals”.
One of these days hopefully I will be able to run an interview here with her. In the meantime, enjoy her work speaking for her.
This morning while running errands, I heard Eric Clapton’s 1974 cover of the song, Please Be with Me, for the first time. Despite the fact I was aware that the late Duane Allman’s daughter, Galadrielle Allman, recently released a memoir about her father of the same name (Please Be with Me–A Song for My Father) I did not realize Allman’s connection to the song.
“Raina sells out. #princetonbookfest #rainatour2014 get your books early!”
Congrats to Raina Telgemeier.
Long before Greg Pak became known for his comics, he was a successful film director and screenwriter. He recently released a brand new short film, Happy Fun Room, which can be viewed on YouTube (as part of the Futurestates.tv storyworld). Pak happily indulged my curiosity to email him a slew of questions for him to answer regarding this latest project. Enjoy.
Tim O’Shea: In what ways do you feel more confident as a short film writer and director with Happy Fun Room, as say compared to your 2011 effort, Mister Green?
Greg Pak: That’s an interesting question. A number of smart people have said that directing is basically deciding. A director has to make dozens of decisions every day in order for everyone else working on the film to be able to do their jobs. If a director can’t decide, everything grinds to a halt and the film eventually falls apart.
I have always respected Hannah Storm as a reporter, but this honest essay boosts that respect immensely. And the fact that ESPN aired it shocked me.
I could watch Annie Lennox music videos all day. (This is from No More I Love You’s)
Once one learns that film scholar/blogger Mark Fertig has authored Film Noir 101: The 101 Best Film Noir Posters, a new Fantagraphics coffee table book, there is only one logical option. Interview him about it. Enjoy Fertig discuss the book and much more about film noir. I wish all my interviews were this content rich. Speaking of content, when discussing certain films, Fertig was kind enough to share links to his blog, Where Danger Lives, please be sure to click on all the links for even more great reading.
Tim O’Shea: You dedicated the book to your late mother. Did she live long enough to know you became a film scholar?
Mark Fertig: Unfortunately my mom passed away when I was still in my twenties; at the time I was slogging it out as an adjunct graphic design professor. However she remains the driving force behind my interest in classic films. Anyone who has ever cultivated a passion for old movies can tell you that it’s difficult to find others out there with the same interests. For me, that person was my mother. We spent countless hours watching dusty VHS tapes and discussing everyone from Alan Ladd to Zasu Pitts. Remember Mia Farrow in those last few moments of The Purple Rose of Cairo? That was my mom.
I first saw The Mastersons play on the Cayamo cruise in 2011. When I found out that the Austin, Texas-based musical duo of Chris Masterson and Eleanor Whitmore were appearing August 7 at Eddie’s Attic (at 7:30 PM), I reached out to Whitmore for a quick email interview to help spread the word. We discuss the new album, Good Luck Charm, which was released by the husband-wife team in June (and is available on iTunes, Vinyl or your local record store), as well as the advantages of playing a legendary cozy venue like Eddie’s Attic in Decatur, Georgia.
Tim O’Shea: How much do you enjoy getting to play more intimate venues like Eddie’s Attic (as opposed to the larger venues you play when opening for or playing with Steve Earle)?
Eleanor Whitmore: It’s easier to connect with your audience when they’re close around you. It’s a lot of fun to play places like Eddie’s Attic because you can interact with the crowd more, but there is a certain challenge to winning over a bigger audience in a large venue and we like doing that too.