Monday, August 3, 2015

You're Going to Tokyo AGAIN Charlie Brown!

First the 2020 Tokyo Olympics and now THIS!  What news to wake up to!!   It's official, the Snoopy Museum Tokyo will open in Tokyo's Roppongi district in March of 2016!

More details to come!

Sunday, April 19, 2015

BROTHERMAN RETURNS!! (Indiegogo Project!)

 In spring of 1990, at my Alma mata, Howard University, (the African-American university mecca) the talk was everywhere...

"Yo, did you hear?  Did you hear??  There is a new black comic book coming out made and drawn by black artists!"  

"What's the title?" 

Bear in  mind despite being around the same time as the first Tim Burton Batman film,  comic books had not quite caught on as a viable mainstream commercial entertainment -- much less, successful independent comic publishing (ie. Image Comics) was still just on the horizon.

The interest and curiosity was real and electric and not just around the university but also around the nation.  Even Arsenio Hall (late night king for American TV at the time) even gave Brotherman a plug. 

The only problem was HOW to get it. Finding a copy of Brotherman was extremely difficult in comparison the monster distribution that companies like Marvel had at the time.

The brainchild of artist Dawud Anyabwile and writer Guy A. Sims. Brotherman's release was a landmark creative work both for the comic book industry but also, American culture.  Brotherman chronicled "hard-boiled-hip-hop" urban adventures of  vigilante Antonio Valor in his war against urban crime .  Brotherman  was an "ethnic" comic book right down to the animated, almost graffiti style rendering and and choice of line --- but still accessible to a wide audience.  Not a superhero just painted black.

Finally, Brotherman is on the fast track to being reborn in an animated graphic novel and series though an IndieGogo crowd funding project.   A new retelling of the Brotherman saga from the talented Guy A. Sims, Dawud Anyabwile and colorist Brian McGee is what many have been waiting for a long time.

The original comic magazine series was a compelling story with amazing artwork that had more to express culturally and personally than anything on the market at that time.

I am confident that the new series Brotherman: Revelations will deliver that and much more.  Please go to the Brotherman: Revelation IndiGogo page and support and share within your circles to make this happen.

Link to Brotherman: Revelations IndieGogo Page:

Tuesday, November 4, 2014

PIG BROTHER Is Watching You: Animal Farm (1954)

Funded by CIA, animated in the United Kingdom (Halas and Batchelor).  George Orwell's anthropomorphic allegory for the Russian Revolution and the birth of the Bolshevik (Communist) government was brought to life in this powerful and haunting animated film.  Part of the USA's cultural offensive during the Cold War.    Very much worth viewing at least once.  (Link below)

Sunday, July 20, 2014

Glenn Vilppu Tokyo Seminar August 16th and 17th 2014

"No rules just tools."  - Glenn Vilppu

Internationally renown Disney, Dreamworks and UCLA drawing instructor Glenn Vilppu will be giving a two day drawing seminar in Tokyo on August 16th and 17th.   

As a premier drawing instructor to the studios in Hollywood, Vilppu has taught the art of figure drawing for over 40 years and has done workshops around the world teaching principles and techniques of drawing to professionals in the animation industry such as Disney, Dreamworks and Warner Bros. 

In each 6-hour seminar, Vilppu will teach participants the master techniques of drawing the human figure as well as anatomy.   It will be an opportunity to receive instruction and feedback from a drawing master whose instruction has been coveted globally by artists and illustrators for generations.

Vilppu does not teach a style but teaches the tools to master drawing so that the artist to use them in any direction he or she wishes. 

The event will be held at Studio and Space IVVA in Harajuku, 12:00 to 18:00 on August 16th and 17th 2014.

To learn more about this event please visit:

Wednesday, July 16, 2014

Man Does Not Create, He Discovers

These are the paraphrased words of Antoni Gaudi that will greet you entering the Mori Art Exhibition:: Takehiko Inoue Interprets Gaudi's Universe.  

It would be plain to say the works of both Gaudi and Takahiro Inoue's were impressive and compelling.

The greater thing to come away with from exhibition is the consideration of  artistic creation and expression come from.  We are moved and compelled by what we observe. Nature served a great part in influencing Gaudi's hand.  As for Inoue-san it seems that Gaudi, the man himself has compelled his hand rather than his expressive voice.  Indeed he has interpreted Gaudi in his own way -- interpreting his work with Gaudi's voice would be of course, just copying.

"The creation continues incessantly through the media of man. But man does not create, he discovers.  Those who look for the laws of Nature as a support for their new works collaborate with the creator.  Copiers do not collaborate.  Because of this, originality consists in returning to the origin."  - Antoni Gaudi 

    Sunday, June 22, 2014

    The Making of Frazetta's and Bakshi's Fire and Ice (1983)

    Considering the buzz over the live action Robert Rodriguez Fire and Ice film in the works, and the resurrection of the Frank Frazetta museum, this was a nice find.  Enjoy and be inspired.

    Thursday, June 19, 2014

    American Godzilla is a Fatty!! ゴジラでぶだよ!! OR Godzilla: God of War

    No matter what you do, some just won't be satisfied.  "Fat Godzilla"  was reaction I heard from a Japanese friend who just saw pictures of the revised Hollywood version of Godzilla.  A lot better than "Fake Godzilla".  A reference to the 1998 American attempt at Godzilla directed by Roland Emmerich.  Japanese Godzilla (or Gojira /ゴジラ in Japanese)  fans don't even acknowledge that version as it's referred to as "Zilla".    So, Hollywood must be making progress.

    Asking which was his favorite version of Godzilla, (there have been so many) I was surprised to hear, "The first Godzilla."  ゴジラ / Godzilla (Toho 1954).  He said that war was still fresh in the minds of Japanese in 1954, as World War II was only nine years before. 

    "Japanese see was war is a kind of monster. It is not controllable and it has a will of its own.  It comes unexpected wreaks havoc and then just leaves the same way.   (Kind of like this monster)  Those who are affected the most are innocent civilians who have no alternative but to evacuate or ride out the storm.  This is what Japanese had to endure during the Tokyo bombings. " 

    Imagine what it must of felt like seeing Godzilla in 1954, surviving the fire-raids of Tokyo only a few years before.  

    As a New Yorker who experienced the 9/11 attacks in 2001, I always had a feeling of discomfort seeing whole skyscrapers crashing down in films like Transformers and most recently,  Man of Steel.  It comes from being very aware of the devastation and that kind of  carnage (not action) creates.    (Makes me wonder if the 9/11 attacks were in Hollywood,  would they handle those kinds of visuals in the same way.)

    Word is that the new Godzilla is supposed to be an "Eco-Godzilla", punishing mankind for not going green.  Guess that's Hollywood's idea of what's relevant  or bringing gravity to the film.  We will see if  でぶゴジラ / Debu Gojira (Fat Godzilla)  will catch on with Japanese audiences.