Sunday, January 1 1995
...a pleasant diversion if deadpan satire is your thing.
When saxman Charlie Parker visited Paris in 1949, he was introduced to Jean-Paul Sartre, one of the godfathers of existential thought. 'I'm very glad to have met you,' the musician told the philosopher. 'I like your playing very much.'"
We have the art itself, but we also have the honest, unflinching gaze into his own fear, his own darkness, and it is this gaze that makes it hard not to empathize with him: here is a man who can make art out of his own shadow.
A review and and an interview with Jeffrey A. Brown: 'Where there seems to be a lack [of serious study] is on the positive side of the mainstream comics. . . you get the sense that it's sort of apologetic or subliterate.'"
A glimpse of those long months of freezing and sweltering, studying and contemplating, in the field by an observer who has done it with sensitive dedication.
My advice would be stick with Volume 1 if you're anything but a Beatlemaniac.
To become a legitimate icon - Bill Monroe's real though unconfessed motivation - it was crucial that he become the messiah of a morally wholesome movement, upholding an idea of conduct that he was unable to attain in a few of his personal dealings.
He has an honest passion about good animation: the classics such as Disney with its inventiveness and grace, Warner Bros. and Tex Avery and their inspired zaniness, while he also revels in the mind-blowing effects that can be achieved through the use of computers, eager to be witness to the next step in the evolution of animated films.