#cour four dc

[plutoslvr]

nobody understands how much fondness i have for young justice (comics) im going to go insane

[radioactive-earthshine]

JLA: Secret Files (1997) #3

"I just know, okay? I just know!"

[awhitehead17]

Day by Day - Chapter 8

Chapter preview:

Up until the afternoon his mood has been on and off all day. Sometimes he would be feeling foul and other times he would be feeling at ease and content. Tim wouldn’t be able to say why that is, it’s just how the mood swings have hit him throughout the morning for no apparent reason. He tries to not think about it too much or else he’s going to give himself a headache and he doesn’t want to be dealing with that.

At lunchtime Cassie somehow managed to find him as he had been coming out of class and proceeded to drag him to the canteen. Not in the mood to protest, and not really wanting to anyway, Tim allowed her to do so and soon enough he found himself surrounded by the usual group.

Bart had about five different snacks surrounding him and he was eating each one separately before trying out different combinations between them. Jamie, whose sitting next to him, watched with obvious disgust and often remarked on the situation in Spanish. Cassie was absorbed in her phone for majority of the time. Tim ended up helping Greta revise for an upcoming quiz, the poor girl was a panicking mess so Tim offered to go through questions and answers with her.

[lomldrake]

Tim: I've paintballed several times in my training with Batman, i'm feeling really confident in my abilities here, and my team is really athletic so we're gonna do great- wait have you guys ever shot a paint gun?

Bart: sure?

Cassie: totally

Kon: ...obviously?

Cassie: I mean I was eight but...

Kon: we're gonna be great

Bart: I took art classes in second great!!

[marbleaide]

Fact: Core four and any other forgotten teen superhero of their generation go out to brunch every sunday to bitch about everyone else over bottomless mimosas

[smashpages]

Winners announced for the 2019 Eisner Awards

The winners were announced last night for the 2019 Will Eisner Comic Industry Awards.

Tom King and Mitch Gerads, partners on the Mister Miracle series from DC, took home five awards between them. John Allison’s Giant Days and The Prince and the Dressmaker by Jen Wang also took home multiple awards.

The Eisner Awards also inducted 10 people into the Hall of Fame last night: the judges chose Jim Aparo, June Tarpé Mills, Dave Stevens and Morrie Turner, while voters chose José Luis García-López, Jenette Kahn, Paul Levitz, Wendy and Richard Pini, and Bill Sienkiewicz to join the class of 2019.

Other awards given out last night included the The Bill Finger Excellence In Comic Book Writing Award, which was presented to Mike Friedrich and the late E. Nelson Bridwell, and the Russ Manning Most Promising Newcomer Award, which went to Lorena Alvarez.

The 2019 recipients of the Bob Clampett Humanitarian Award were Edgardo Miranda-Rodriguez, for his work on Ricanstruction: Reminiscing & Rebuilding Puerto Rico, and comic artist Tula Lotay, AKA Lisa Wood, for creating the UK-based Thought Bubble Festival. And La Revisteria Comics in Argentina won the Will Eisner Spirit of Comics Retailer Award.

You can see all the Eisner winners below, in bold.

Best Short Story

“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)

“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)

“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)

“Life During Interesting Times,” by Mike Dawson (The Nib), https://thenib.com/greatest-generation-interesting-times

“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)

“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)

Best Single Issue/One-Shot

Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)

Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)

No Better Words, by Carolyn Nowak (Silver Sprocket)

Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)

The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)

Best Continuing Series

Batman, by Tom King et al. (DC)

Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)

Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)

Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)

The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)

Runaways, by Rainbow Rowell and Kris Anka (Marvel)

Best Limited Series

Batman: White Knight, by Sean Murphy (DC)

Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)

Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)

Mister Miracle, by Tom King and Mitch Gerads (DC)

X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)

Best New Series

Bitter Root, by David Walker, Chuck Brown, and Sanford Green (Image)

Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)

Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)

Isola, by Brenden Fletcher and Karl Kerschl (Image)

Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)

Skyward, by Joe Henderson and Lee Garbett (Image)

Best Publication for Early Readers (up to age 8)

Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)

Petals, by Gustavo Borges (KaBOOM!)

Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)

This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)

Tiger Vs. Nightmare, by Emily Tetri (First Second)

Best Publication for Kids (ages 9–12)

Aquicorn Cove, by Katie O’Neill (Oni)

Be Prepared, by Vera Brosgol (First Second)

The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)

Crush, by Svetlana Chmakova (JY/Yen Press)

The Divided Earth, by Faith Erin Hicks (First Second)

Best Publication for Teens (ages 13–17)

All Summer Long, by Hope Larson (Farrar Straus Giroux)

Gumballs, by Erin Nations (Top Shelf/IDW)

Middlewest, by Skottie Young and Jorge Corona (Image)

Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)

The Prince and the Dressmaker, by Jen Wang (First Second)

Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)

Best Humor Publication

Get Naked, by Steven T. Seagle et al. (Image)

Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)

MAD magazine, edited by Bill Morrison (DC)

A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)

Woman World, by Aminder Dhaliwal (Drawn & Quarterly)

Best Anthology

Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)

Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)

Twisted Romance, edited by Alex de Campi (Image)

Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)

Best Reality-Based Work

All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)

All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)

Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)

Monk! by Youssef Daoudi (First Second)

One Dirty Tree, by Noah Van Sciver (Uncivilized Books)

Best Graphic Album—New

Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)

Come Again, by Nate Powell (Top Shelf/IDW)

Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)

Homunculus, by Joe Sparrow (ShortBox)

My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)

Sabrina, by Nick Drnaso (Drawn & Quarterly)

Best Graphic Album—Reprint

Berlin, by Jason Lutes (Drawn & Quarterly)

Girl Town, by Carolyn Nowak (Top Shelf/IDW)

Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)

The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)

Young Frances, by Hartley Lin (AdHouse Books)

Best Adaptation from Another Medium

Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)

“Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)

Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)

Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)

To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)

Best U.S. Edition of International Material

About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)

Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)

Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)

Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)

A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)

Best U.S. Edition of International Material—Asia

Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)

Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)

Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)

My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)

Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)

Best Archival Collection/Project—Strips

Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)

Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)

Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)

The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books

Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project—Comic Books

Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)

Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)

Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)

Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)

Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)

Best Writer

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)

Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)

Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)

Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)

Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)

Best Writer/Artist

Sophie Campbell, Wet Moon (Oni)

Nick Drnaso, Sabrina (Drawn & Quarterly)

David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)

Nate Powell, Come Again (Top Shelf/IDW)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Jen Wang, The Prince and the Dressmaker (First Second)

Best Penciller/Inker or Penciller/Inker Team

Matías Bergara, Coda (BOOM!)

Mitch Gerads, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Sonny Liew, Eternity Girl (Vertigo/DC)

Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)

Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)

Best Painter/Multimedia Artist (interior art)

Lee Bermejo, Batman: Damned (DC)

Carita Lupatelli, Izuna Book 2 (Humanoids)

Dustin Nguyen, Descender (Image)

Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Best Cover Artist (for multiple covers)

Jen Bartel, Blackbird (Image); Submerged (Vault)

Nick Derington, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Joshua Middleton, Batgirl and Aquaman variants (DC)

Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)

Best Coloring

Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)

Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)

Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)

Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)

Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)

Best Lettering

David Aja, Seeds (Berger Books/Dark Horse)

Jim Campbell, Breathless, Calexit, Gravetrancers, Snap Flash Hustle, Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge, Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings, Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)

Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)

Best Comics-Related Periodical/ Journalism

Note: There was a tie in this category

Back Issue, edited by Michael Eury (TwoMorrows)

The Columbus Scribbler, edited by Brian Canini, columbusscribbler.com

Comicosity, edited by Aaron Long and Matt Santori,  www.comicosity.com

LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)

PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com

Best Comics-Related Book

Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)

Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)

The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)

Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)

Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)

Best Academic/Scholarly Work

Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)

Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)

The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)

Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)

Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)

Best Publication Design

A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)

The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)

The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)

Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Aztec Empire, by Paul Guinan, Anina Bennett, and David Hahn, www.bigredhair.com/books/Aztec-empire/

The Führer and the Tramp, by Sean McArdle, Jon Judy, and Dexter Wee, http://thefuhrerandthetramp.com/

The Journey, by Pablo Leon (Rewire), https://rewire.news/article/2018/01/08/rewire-exclusive-comic-journey/

The Stone King, by Kel McDonald and Tyler Crook (comiXology Originals)  https://cmxl.gy/Stone-King

Umami, by Ken Niimura (Panel Syndicate), http://panelsyndicate.com/comics/umami

Best Webcomic

The Contradictions, by Sophie Yanow, www.thecontradictions.com

Lavender Jack, by Dan Schkade (WEBTOON), https://www.webtoons.com/en/thriller/lavender-jack/list?title_no=1410&page=1

Let’s Play, by Mongie (WEBTOON), https://www.webtoons.com/en/romance/letsplay/list?title_no=1218&page=1

Lore Olympus, by Rachel Smythe, (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=1

Tiger, Tiger, by Petra Erika Nordlund, (Hiveworks) http://www.tigertigercomic.com/

[ohallows]

can you tell me cour four's ages?

in YJ, i think bart was 13/14, tim was 14/15, kon was 16, and cassie was 14/15?

kon and bart’s ages are weird tho bc bart has accelerated growth and grew up in VR and kon was grown in a tube (technically he’s like 3 and kon is like 1 but mentally that’s where they’re at)

dc isn’t... great at ages. it also doesn’t make sense bc tim was 16 for like... three years in canon. super weird

it’s also weird bc by the time they’re in teen titans, i think bart is 15, tim is 15/16, kon is 16/17, and cassie is 16/17. ages are weird and made up

[kevinscottgardens]

17 au 23 janvier 2022

Exciting week. Monday I discovered the newly planted Vibernum were sulking so I watered all of the newly planted hedge. It’s been about three weeks and we have not had any rain. I suppose it was about time they needed a drink. At the end of the day, my arms really hurt, which I found strange because for the most part I was just holding the hose. I found just trying to lift or carry an empty pan was proving difficult.

Tuesday I called in sick and went to my doctor’s appointment in the afternoon. I’ve been told not to work until 31 January. I’ve been prescribed lots of pain medication, an ultrasound for my elbows and physiotherapy for my shoulders.

Tuesday evening I had a really nice chat with Alek. I talked through my ideas for the new nursery area and he was very helpful. I’ll update my Sketch-up drawing and source the material. I’m concerned about the logistics of getting all the material to that part of the domaine.

Wednesday, I received the seeds from Château Perouse Botanic Garden. They were beautifully hand folded envelopes. They even sent four additional seeds not on my list. Stéphane’s surprise 50th was cancelled due to many people either down with Covid or wanting to avoid it. So I told Lucien that I was now free so he decided to come to mine from Marseille where he was on Thursday.

Thursday I had my ultrasound on my elbows. Then I went with Denis to Grasse to see how the house is coming along.

That evening Denis and I headed over to Dee’s where we enjoyed sardines, radicchio salad and teriyaki salmon for dinner.

Lucien arrived Friday in time for lunch. We then had Denis over for dinner.

Saturday afternoon Lucien and I headed to Fréjus, just to the west of Cannes, to visit his father, who has quite a bad infection in his leg. They all played belote which I just couldn’t figure out why the tricks were being won. I let them play and took a walk along the sea at sunset. I spoke with Karen on the phone and she may come over for dinner Monday.

Sunday, after breakfast, we returned to Antibes. We’re enjoying a dimanchill afternoon. My left arm isn’t improving very much.

Cours de français hebdomadaire

les travaux d'hiver - winter work 

j'ai des spasmes musculaires dans les mains - I have muscle spasms in my hands

j'ai mal aux coudes - my elbows hurt

j'ai mal aux épaules - my shoulders hurt

mes avant-bras me font mal - my forearms hurt

ça fait mal de porter une casserole vide ou même une tasse - it hurts to carry an empty pot or even a cup

je prenais de l'ibuprofène - I’ve been taking ibuprofen

je portais des manchon de compression bras - I was wearing arm compression sleeves

les spasmes musculaires me réveillent - muscle spasms wake me up

J'ai creusé des trous - I dug holes

J’ai déplacé beaucoup de terre - I moved a lot of dirt

Plant of the week

Rhamnaceae Rhamnus alaternus L.

common name(s) - Italian buckthorn, Mediterranean buckthorn; français : bourgue épine infraspecifics - Rhamnus alaternus subsp. alaternus; Rhamnus alaternus subsp. munozgarmendiae Rivas Mart. & J.M.Pizarro; Rhamnus alaternus subsp. pendula (Pamp.) Jafri synonym(s) - Alaternus angustifolia Mill.; A. balearica Duhamel ex Steud.; A. glabra Mill.; A. hispanicus Steud.; A. latifolia Mill.; A. phylica Mill.; A. rotundifolia Steud.; A. variegata Steud.; Rhamnus alaternus var. angustifolia DC.; R. alaternus var. hispanica DC.; R. alaternus var. vulgaris DC.; R. clusii Willd.; R. collina Salisb.; R. myrtifolia Willk. conservation rating - Least Concern native to - Mediterranean location - Domaine de l’Orangerie leaves - stems have reddish bark and pubescent young branches, rounded and compact foliage with alternating leaves, sometimes nearly opposite, oval or lanceolate, leathery, shiny green, yellowish-green underneath flowers - small and fragrant, in spring, gathered in a short axillary yellow-green raceme fruit - obovoidal red-brownish drupes, containing from two to four seeds, darken to black when ripe habit - a hardy, medium-sized, evergreen shrub to 3m tall habitat - widespread in thermophilic evergreen bush and scrubland of the Mediterranean climate regions, from Gran Canaria, Morocco and Portugal in the west, to the Levant in the east, from sea level up to 1,300m pests - generally pest-free disease - generally disease-free hardiness - to -10ºC (H4) soil - well-drained, calcareous, sun - full sun to part shade in very hot areas propagation - seed, cuttings pruning - damaged, dead, diseased nomenclature - Rhamnaceae - Rhamnus - an ancient name, ραμνος, for various prickly shrubs (rhamnos in Pliny) Rhamnus was a town famed for its statue of Nemesis); alaternus - alternate (referring to the leaves), an old generic name for a buckthorn, resembling buckthorn’s fissured bark NB - Its wood is heavy, hard and homogeneous, and therefore good for turning and carpentry; it was used to make small objects and utensils.

References :

Gledhill, David, (2008) “The Names of Plants”, fourth edition; Cambridge University Press; ISBN: 978-0-52168-553-5

IUCN [online] https://www.iucnredlist.org/species/19180829/122959816 [19 Jan 22]

Monde, Le [online] https://jardinage.lemonde.fr/dossier-3503-nerprun-alaterne.html [19 Jan 22]

Plants of the World [online] https://powo.science.kew.org/taxon/urn:lsid:ipni.org:names:718169-1 [19 Jan 22]

Senteurs du Quercy, Les [online] https://www.senteursduquercy.com/autres-arbustes/592-rhamnus-alaternus-nerpruns.html [19 Jan 22]

Wikipedia [online] https://en.wikipedia.org/wiki/Rhamnus_alaternus [19 Jan 22]

World Flora Online [online] http://www.worldfloraonline.org/taxon/wfo-0000462513 [19 Jan 22]

SARS-CoVid-2 update (incidence rate per 100,000)

[estatelandnews]

A foreign company expresses interest in a controlled explosion at Karachi’s Nasla Tower. On Monday, made on decision on how the Supreme Court-ordered demolition of the Nasla Tower in Karachi would be carried out, four out of five companies submitted bids for manual demolition of the 15-story structure. At the same time, a foreign firm offered to raze it via a controlled implosion blast.

According to sources, an eight-member committee for the demolition of Nasla Tower met at the deputy commissioner (DC) office for district East. It deliberated extensively on the bids and proposals submitted by four local and one foreign firms and the method and date of the tower’s demolition.

DC Asif Jan Siddiqui told Dawn that the committee deliberated on the bids and decided to convene the bidding businesses on Wednesday (tomorrow) to present their respective proposals for the demolition method and time required. “We will unquestionably use the safest technique possible to demolish the building,” he stressed.

Commissioner Iqbal Memon established the committee to award the contract, with the DC-East serving as its chairman.

Additionally, four local firms have requested for manual demolition of the 15-story structure.

Significant media regarding the safest and quickest method of dismantling the 15-story residential structure. The Commissioner’s office in Karachi made the offer.

Nasla Tower is a residential development spanning 1,121 square yards on Plot No193-A under the Sindh Muslim Cooperative Housing Society, or SMCHS, in Sharea Faisal.

According to experts, a controlled detonation was not feasible since it would also cause the Nursery overpass, surrounding buildings, water, and other utility pipelines to fall.

Furthermore, they stated that a controlled detonation was impossible due to the building’s location in a densely populated region with a high traffic volume.

According to analysts, the country’s detonation facility is used to destroy mountains, but “applause theory” was necessary to destroy Nasla Tower, and such a facility does not exist in Pakistan.

According to them, primarily the explosion blast in mountainous regions.

[danschkade]

PAGE x PAGE ANALYSIS-- BATMAN: GOTHAM ADVENTURES #1

PUBLISHED: DC Comics, June 1998

SCRIPT: TY Templeton

PENCILS: Rick Burchett

INKS: Terry Beatty

COLORS: Lee Loughridge

LETTERS: Tim Harkins

EDITORIAL: Darren Vincenzo

For the last couple weeks, the time I might have otherwise spent writing more Page x Page Analyses was instead spent writing, revising, and thumbnailing the first issue of a new series. If the winds stay southernly, I’ll have more to say about that soon -- but in the meantime, it’s got me thinking about what goes into making a successful first issue. Charged with introducing the cast and premises as well as telling an engaging money’s-worth story, they're tricky beasts, even when you’re dealing with established characters. Maybe even especially when you’re dealing with established characters. For kids. 

Such is the case with 1998′s BATMAN: GOTHAM ADVENTURES #1!

I looked at issue 17 of this series in the debut installment of this feature. Aside from writer Ty Templeton and penciler Rick Burchett, the same creative team was here at the beginning, and all of the same good qualities are in play: strong meat-and-potatoes storytelling, muscular use of color to set location and mood, clear, clean inking, and solid lettering that invisibly guides the reading flow. With its intelligent use of simple character-driven plotlines and dynamic visual direction, BATMAN: GOTHAM ADVENTURES #1 is a prime example of how to introduce new readers to a full, lived-in world -- even if that world has been on your TV since 1992, and in continuous publication since 1939.

BATMAN: GOTHAM ADVENTURES #1 and all characters contained therein are property of DC Comics, reproduced here solely for educational purposes.

***

PAGE ONE

We kick off our new Batman comic by having The Joker leaping straight at the reader as the entire Batfamily gives chase.

Why mess around if you don’t have to, y’know?

This is not, strictly speaking, a splash page. The inclusion of that little “With a price on his head!” panel to go along with the title is blatantly non-verisimilitudinous (meaning it explicitly breaks any illusion we have that what we’re seeing is real, immersive). I think this was a canny move; this issue is going to do some really tricky tone-juggling where the Joker is concerned, so starting out with these two very different deceptions of him right on the first page immediately lets us know what to expect. Lee Loughridge’s colors are on the job to keep this from being confusing, clearly placing the first panel in a different spacial and temporal plane than the main image. 

PAGE TWO

The first panel follows immediately from the opening page, establishing a nice fast pace of action. I love how the Batfam looks sort of like a flock of birds -- it’s a cool way to add a dynamic, distinctive element to what is essentially just a footchase. 

This whole sequence has particularly clear lines of motion, beginning with this page:

Having Batman point directly at the reader in the last panel is an effective way to snap off the action flow of the page, making it feel more three-dimensional than the simple zig-gag it would be otherwise. Side note: how great are those sharp silhouettes in panel three? Funky and distinctive, selling the force of the explosion while still letting us know who’s who. 

PAGE THREE

Lots of good stuff going on with this page. Again, the action continues directly from the previous page as Robin follows through on Batman’s order and saves a civilian from the falling debris. We get a nice little bit of characterization-through-action -- Robin is a good soldier, a capable superhero, and a wisecracker -- as well as demonstrating how the Batfamily is concerned with protecting the people of Gotham City just as much as they’re concerned with catching criminals. Seems pretty basic, but it’s surprising how often that simple mission statement gets lost in the shuffle of telling a new superhero story. 

See also how the space where the flaming debris land in panel two is along the same latitude as where the civilian was standing in panel one. The arc of Robin’s swing also passes through that same point. This is a helpful touch, showing us how narrowly she just avoided a fiery demise.

We do lose track of Batgirl for the rest of this scene, which could be considered a structural error in the script. 

Burchett makes sure we don't lose track of Batman and the Joker by turning them into there sharp, easily identifiable silhouettes, backlit by Loughridge’s  distinctive colors in the explosion and the screen. You really can’t miss them. Tim Harkins continues to help us out on the lettering front, drawing a line between Batman, the Joker, and Summer Glisan’s news report. The citizens below add to the general danger by making the city feel full of vulnerable citizens, as well as helping us get a sense for how high off the ground the action is.

PAGE FOUR

This is such a great way to get exposition across. Where an infodump like this can often kill a story’s momentum, the ongoing Batman/Joker fight keeps up the intensity of the scene in a way that really doesn’t take up all that much real estate on the page. This device also connects our main characters to the exposition by allowing the Joker to directly react to it. He really is a loathsome villain; Templeton’s script does a deft job of balancing out the goofy, whimsical elements of the Joker with the lethal. Too far one way and he’s just a clown who makes Batman look silly for having to contend with him -- too far the other and he’s a shrill, boring serial killer. 

More clean movement on this page:

Note how this layout draws our attention to the horrible rectus smile in panel three from two different directions; the action line from the previous panel as well as the Joker’s shaking fist, with Batman’s head in the bottom left corner pointing up to it for good measure. All conflicts in the issue derive from the fact that the Joker murdered this young man, so it’s very important that we absorb this image before we move on to the next page. 

PAGE FIVE

See, again, the great balancing act. The anti-bat spray and the giant inflatable glove are patently ridiculous, but when laid over the face of a father driven mad by grief, the clownish gadgets become salt in the wound. The reader really identifies with the father here; imagine if you lost the person you loved more than anyone in the world, and this prancing asshole is the one responsible. Even when you put a price on his head, he just laughs at you. Look how sinister he is in panel three. He’s the most killable man in the Gotham City, this guy. 

PAGE SIX

Man, how do you not read that first line in Mark Hamill’s voice? 

There’s a really interesting use of space here. The action takes place all around the edges of the page, giving the whole sequence this great sense of verticality -- even if there is a slight gaff in that Burchett and/or Beatty forgot to draw the Batline in panel four. That said, I do love the inclusion of the reporter and cameraman in that panel, giving the environment a nice sense of depth that emphasizes the splattery fate from which Batman just saved the Joker. 

The action, and with it the scene, ends in the left of the last panel. This leaves the city shot in the right on that panel to act as a sort of ‘pan away’ moment, creating a quiet beat without cluttering the page with another panel. It’s super effective. 

Something I forgot to address elsewhere: Burchett is always contrasting the rigid, unflappable Batman with the constant mugging of the Joker. This is largely down to Bruce Timm’s terrific character models, but Burchett is a sharp enough cartoonist to know how to stage them so those contrasts really land. 

See also: this great juxtaposition at the top of this page.

PAGE SEVEN

I’ve always loved this lady in the bottom corner. No analysis, just crushin’.

PAGE EIGHT

Weirdly enough, The Joker is our POV character for this page. Despite being a comic book tie-in to a very popular tv show, this is still technically the first time we’re seeing the Batcave in this comic book series, so Templeton and Burchett give us this nice spacious look at the pace. The Joker’s reaction helps sell it as an impressive space, even if he’s mostly just talking nonsense. Loughridge uses this scene to establish the cool teals and greens that will indicate Batman’s private environments from here on out, such as the cave or the inside of the Batmobile.

Cutting from the huge shot of the cave to the narrow horizontal final panel adds to the suddenness of Batman cuffing the Joker to the railing. 

“Awp!”

PAGE NINE

This is our introduction to Nightwing, so of course the wayward bad boy Batchild has to come screeching into the panel on his badass black motorcycle instead of just walking in like a normal person. Templeton and Burchett give Robin something to do by having him goof around on the railing, which avoids having the scene become just a bunch of people standing around in capes. See also: wringing a moment of tension out of Alfred’s introduction. I dig Batman’s snarl in the last panel -- the most emotion we’ve seen from him so far. Alfred being in danger will do that. 

 PAGE TEN

Burchett adds dynamism to panel one by tossing a dutch angle into the mix. It’s a smart move -- having a diving action like a tackle go directly towards or away from the reader can sometimes come across as static or just unclear. The dutch angle gives this panel enough energy to sell the action. 

Also, a rare continuity gaff: the stairway entrance has a doorjamb here, where on the previous page it’s just a rough opening in the cave wall. The Joker looks a little bit off to me as well -- could this have been one of the first pages Burchett drew in the new B:TAS style? It’s a pretty common practice for an artist on a new book to initially draw some pages from the middle of the issue, just to get a feel for the new project on some pages of lesser relative importance. When it comes to this specific page, of course, I’m purely speculating. 

Regardless, Robin looks excellent in panel four. 

PAGE ELEVEN

What a great page. This is the point at which the main plot splinters into its various subplots, emphasized by seeing all our players head off in their own directions in panel one. Batman hands the scene off to Batgirl in panel two, and in panel three we fully establish her as the new POV character for the Batcave scenes going forward. In the next panel, we see the rest of the Batfamily drive away on their various conveyances, the looming silhouette of the Joker’s handcuffed arm, and Batgirl herself in the midground between them, really selling how suddenly isolated she is. The last panel says it all -- even if he’s handcuffed and weaponless, no one wants to be alone in a room with the Joker. 

Here, we end the first act with all our plotlines well in play:

Batman and Robin try to crack the case Gordon has for them (which, if you were paying attention on page seven, you know involves The Riddler)

Nightwing on patrol, which will almost certainly involve...

All the Gothamites who’re scouring the streets looking for the big payday

Douglas Reid using all his wealth to get his revenge on the Joker

And Batgirl, guarding the man himself in the Batcave.

All of which will unfold over the remaining twenty seven (!) pages, each of which is as dense and active as what we’ve seen so far. 

There’s a lot to love about this comic, and I’ll be coming back to it in the weeks to come. But today, I just wanted to look at the opening pages of a comic that does an exceptional job of using a clever, character-driven premise to set up its world. 

***

You can get this entire issue -- for free! -- on Comixology, along with every other issue of GOTHAM ADVENTURES for, like, a buck or two apiece. 

For a couple of my own comic creator bona fides, check out WILL EISNER’S THE SPIRIT RETURNS and SAN HANNIBAL, and pre-order the trade collection for BATTLESTAR GALACTICA: GODS AND MONSTERS. 

Additional content can be found on my website, danschkade.com, as well as my twitter!

Be well, talk soon, etc

PREVIOUS PAGE x PAGE ANALYSES:

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PETER PARKER: SPIDER-MAN #13

BATMAN: GOTHAM ADVENTURES #17

[redarro]

4, 5, 6, 7 , 13, 17, 24, 32, 34, 38, 46, 49? DC asks?

4. What introduced you to the DC universe? Was it a show, comic or movie?

I think the easiest answer to this question is my dad? I guess the media that introduced me had to be the original Teen Titans tv show, that or a Green Lantern Comic I read (more looked at picture but eh) when I was like 5

5. Favorite character?

DONNA TROY

6. Favorite cannon ship? 

uhhhhhh define canon lmao I guess wondertrev?

7. Favorite non-cannon ship?

DICKWALLY

13. DCEU or DCAU?

DCAU don’t worry I hate myself too

17. Teen Titans or Young Just Us?

Okay this depends on a lot of things. One, is this asking if I prefer the cour four/fab five? If so, Teen Titans. But if it’s asking DCAU Teen Titans and Young Justice, I chose Young Justice in a heartbeat.

24. If you had total control what would you change?

I would first of all delete the entirety of The New Order and have them stop killing characters that will come back just for shock value

32. Who do you think is the most overused or overrated characters?

I’m looking at you, Clark

34. Legion of Superheros or Batman Beyond?

Batman Beyond

38. Who do you think is the most overlooked or underused character?

KYLE RAYNER OR DONNA TROY HOW MANY TIMES DO I HAVE TO SAY uh we need to use Ms. Martian more and better thx

46. Kord Industrues, Wayne Tech or Lex Corp?

Kord Industries 

49. DC Bombshells, Injustice or Kingdom come?

Bombshells, what kind of question...???

[rollingstonemag]

Un nouvel article a été publié sur http://www.rollingstone.fr/benoit-hamon-un-candidat-dans-rolling-stone/

Benoît Hamon, son interview dans Rolling Stone

Benoît Hamon, grand gagnant de la primaire socialiste, s’était confié, il y a quelques semaines, à Rolling Stone et nous a dévoilé sa culture rock. Amateur de cold-wave dans sa jeunesse brestoise, il nous livre son patrimoine rock où Status Quo côtoie Cure, U2, The Sisters Of Mercy et Téléphone. Nous vous proposons l’intégralité de son interview

Par Philippe Langlest

Depuis déjà plusieurs mois, il y a de la friture sur la ligne PS, entre les pros-Valls et les frondeurs qui rejettent ouvertement la politique mise en place par le Premier ministre. Proche de Michel Rocard au début des années 1990, il se rapproche de Martine Aubry dans les années 2000 puis fini par se rallier à François Hollande en 2011. Incarnant la gauche du PS, il est nommé ministre délégué chargé de l’Économie sociale et solidaire en mai 2012 sous le gouvernement Ayrault. Avec Manuel Valls, il prend du grade et hérite du poste de ministre de l’Education nationale où il restera 147 jours. Plus vraiment sur la même longueur d’onde, il est débarqué du gouvernement fin août 2014. Aujourd’hui, libre comme l’air, le Breton est redevenu député. Boudé par l’Elysée et peu apprécié par Matignon, il compte bien faire entendre sa voix aux primaires socialistes début 2017.

Fils d’un père ingénieur des Arsenaux de Brest, le petit Benoît se martèle les tympans sur le boogie-rock de Status Quo. Il a 13 ans. Dans sa chambre d’adolescent, punaisée de poster d’AC-DC et de Motörhead, l’album Overkill lui souffle dans les bronches. Ses goûts musicaux s’affirment au lycée, il change de braquet et découvre la new-wave anglaise avec Depeche Mode. Attiré par un son plus dark, il est séduit par la cold-wave de The Cure puis passe de Joy Division aux riffs noir corbeau des Sisters Of Mercy. Au début des années 80, le rock made in France reprend des couleurs. Ses groupes préférés savent cracher du riff : ils ont pour noms Téléphone, Starshooter, Bijou.

7 juillet 2016. Installé dans un modeste bureau à l’Assemblée Nationale, il nous reçoit chaleureusement les bras chargés de 33-tours. Allure de jeune homme et coupe de douilles à la Ian Curtis, le député frondeur desserre la cravate.

Adolescent, comment avez-vous fait votre éducation musicale ?

A la maison, mes parents écoutaient religieusement Joe Dassin. Il ne se passait pas une semaine sans que la voix du grand Joe résonne dans les enceintes (sourire). Bien qu’à 12 ans, je n’écoutais pas vraiment sa musique dans ma chambre. J’ai commencé à me mettre au rock avec les Anglais de Status Quo, mon groupe fétiche à cette époque. Pour moi, il n’y avait pas mieux : ils avaient des putains de bonnes chansons qui faisaient battre du pied, un son de guitares qui allait bien et ce look total jean délavé, que je trouvais très tendance à l’époque (rires).

https://www.youtube.com/watch?v=z7-z4Dz5ZU4

Avec quel album découvrez-vous le groupe Status Quo ?

En achetant mon premier 45 tours, « Whatever You Want ». Pendant des semaines, le single a tourné sur ma platine : ce refrain ne me lâchait pas (Hamon fredonne NDLR). Entre-temps, j’avais bien entendu acheté l’album du même nom. Ce groupe avait la réputation de tenir la scène. J’en ai eu la confirmation en me procurant leur disque Live, enregistré à Glasgow en 1976. Le son du disque est volcanique et les guitares de Parfitt/Rossi sont remontées comme des coucous, enquillant à la chaine leurs meilleurs titres, avec entre autres « Caroline », « Down Down » et l’incontournable « Whatever You Want ».

De 12 à 14 ans, j’étais à fond dans le hard-rock. J’avais un gros poster d’AC-DC dans ma chambre.

A part Status Quo, vous vous intéressiez à d’autres groupes de rock ?

De 12 à 14 ans, j’étais à fond dans le hard-rock. J’avais un gros poster d’AC-DC dans ma chambre. Let The Be Rock et Highway To Hell squattaient ma platine. Les riffs d’Angus Young ont accompagné mes années de collège. Pour me décrasser les oreilles, j’utilisais assez souvent l’artillerie lourde de Motörhead avec les albums Overkill ou Ace Of Spades. J’éprouvais aussi une vraie sympathie pour les seconds couteaux du heavy-metal comme le groupe Saxon. Ils venaient d’un bled du côté de Sheffield ; de solides gaillards qui avaient fait un peu tous les métiers avant de se lancer dans le heavy-metal. Je me souviens encore de ces longues intros de guitares et ces solos qui surgissaient de tous les coins de l’album Wheels Of Steel. Un morceau de Saxon sans solo, c’était impensable, ça n’existait pas en fait !

Pas de Beatles ? de Stones ?

Non, je suis complètement passé à côté. J’ai écouté les Beatles sur le tard et les Stones n’ont jamais été mon truc. J’aime la gouaille de Jagger sur certains albums comme Tattoo You mais ça s’arrête là.

Après le heavy-metal de Saxon, vous changez de cap et vous passez de la new wave à la cold wave…

Au lycée à Brest, j’ai changé de look et surtout de style musical. Mes copains étaient des fans hardcore des Smiths. Ils achetaient tout ce que faisaient Morrissey et sa bande. A cette époque, la tendance était très Manchester à Brest. Cette même année, je suis tombé sur Unknown Pleasures de Joy Division et la voix glacée et glaciale de Ian Curtis. J’écoutais aussi Depeche Mode mais c’est surtout la période cold wave de The Cure qui m’a attiré avec l’album Seventeen Seconds. Mélodiquement, j’ai toujours trouvé que The Cure était au-dessus du lot et que Robert Smith reste l’un des meilleurs songwriters anglais encore en activité. Pourtant, j’avais un sentiment très ambivalent sur eux. J’adorais leur musique mais j’avais du mal à encadrer leurs gueules. Je dois avouer que le côté androgyne maquillé de Robert Smith me gavait un peu. Même si à cette époque, j’avais un look un peu dark qui se résumait à porter un imper marine très long qui traînait un peu sur mes bottes (rires).

https://www.youtube.com/watch?v=wVvoQIdD80U

Par la suite, vous devenez fan de The Sisters Of Mercy. Comment vous initiez-vous à leur musique ?

La musique, c’est souvent une histoire de potes, on me passait souvent des lives en K7. Et à un moment donné, je suis tombé sur The Sisters Of Mercy. Leur musique dégageait une grande puissance, c’était un mélange entre le gothique et la dark wave. Mais derrière cet épais rideau noir, il y avait de bonnes mélodies comme Mary Ann ou Alice. Je me rappelle que la formation d’Andrew Eldritch changeait souvent de personnel, suite au caractère versatile du taulier. En fait, si vous observez le line-up du groupe sur toute leur carrière, il y a plus de contrats précaires que de CDI (sourire).

Il y a un album en particulier que vous recommandez ?

Je conseillerais le premier First and Last And Always, sorti en 85. C’est une tuerie, avec Eldritch et Wayne Hussey à la guitare, futur leader The Mission. J’ai passé de nombreuses soirées à Brest à écouter à fond « Marian » et « Black Planet ». Leur musique me donnait envie de bouger, de larguer les amarres sur le dance floor brestois.

A ce propos, quand vous sortiez à Brest pour écouter de la bonne musique, c’était où votre QG ?

On allait tous au Mélo. Cette boite était le point de rendez-vous pour tous les amateurs de cold-wave. C’était le club rock incontournable de la ville. Au moins, là-bas on savait qu’on n’allait pas se retrouver encerclé par Michel Sardou ou François Valéry, la programmation musicale affichait clairement les couleurs.

Vous étiez quel genre de client, plutôt à rester tranquillement au bar ? Ou à pogoter sur la piste de danse ?

Je ne refusais jamais un petit pogo. Par exemple, quand le DJ envoyait « This Is Love Song » de PIL, je filais inexorablement me dégourdir les jambes.

Il y avait aussi Starshooter que j’aimais bien. Musicalement, leurs chansons sonnaient entre le punk et la new-wave ; entre les Damned et B-52’s pour les initiés.

Quel est votre premier vrai choc musical ?

Probablement le premier live de Cure qui sort en 1984. Ce disque avec aux commandes le trio Smith, Gallup, Tolhurt avait été enregistré entre Londres et Oxford. Je l’ai écouté des centaines de fois ! Le vinyle est rayé de partout. A l’intérieur, il y a le meilleur de Cure en live : de « Charlotte Sometimes » qui est d’une beauté magnifique, à l’hypnotique « A Forest » ou encore « Killing An Arab », un authentique bijou signé Robert Smith.

https://www.youtube.com/watch?v=SdbLqOXmJ04

En 2010, vous avez rencontré les membres du groupe anglais Gang Of Four dont le leader Jon King a été adhérent au Labour Party. Qu’est-ce qui vous plait dans leur musique ?

On s’était rencontrés pour le magazine Vox Pop. Pour moi, Gang Of Four, c’était tout d’abord du bon post punk. Par exemple, dans l’album Songs Of The Free qui paraît en 1982, il y a tout le discours des années Thatcher. Leurs chansons ont de l’épaisseur et restituent bien ce qu’a été l’Angleterre des luttes. Il y a plein d’artistes anglais qui ont su résister et qui ont mené des batailles exemplaires contre le cynisme des tories et les excès du libéralisme, comme Jon King de Gang Of Four en musique ou encore Ken Loach au cinéma.

Quelques mots sur le groupe U2 ?

Au début des 80’s, j’étais très fan. L’album « War » est sans aucun doute l’un de leurs meilleurs. Il faut se rappeler qu’en 1983, il existait une grosse tension entre les autorités britanniques, l’Irlande du Nord et l’IRA. Quand Bono écrit la chanson « Sunday Bloody Sunday », son texte s’inscrit dans le cours de l’Histoire. Aujourd’hui, le groupe enchaine les disques et les tournées mais je ne retrouve plus la même fièvre dans leurs nouvelles compositions.

Si je vous dis rock français, ça vous évoque quoi ?

Téléphone !!! Le premier album de Téléphone est exceptionnel. Les titres comme « Hygiaphone », « Sur La Route », « Métro (C’est Trop) », « Anna » ou « Flipper » étaient monstrueux d’efficacité. J’aimais les guitares de Bertignac mais je préférais le charisme naturel d’Aubert. En plus, Kolinka à la batterie, c’était un peu le Stewart Copeland version Téléphone. J’ai eu l’occasion de les voir en concert à Brest. En live, ils dominaient de très haut la scène rock hexagonale de cette époque. Il fallait être très costaud pour rivaliser avec eux. Bijou avait un truc différent, leur répertoire avait une sonorité sixities qu’on ne retrouvait pas chez les autres. Sur l’album Jamais Domptés, il y a des titres très percutant comme « Rock à la Radio » ou « Pas Comme Vous ». Il y avait aussi Starshooter que j’aimais bien. Musicalement, leurs chansons sonnaient entre le punk et la new-wave ; entre les Damned et B-52’s pour les initiés. Le quatuor lyonnais avait une patate d’enfer, ça jouait vite et fort ! En mai 1981, Starshoot a sorti son single « Quel Bel Avenir » avec ce couplet annonçant la couleur : « Dans les eighties, j’y suis né, y-avait des roses au mois de Mai…». Plus tard, il y a eu Noir Désir avec « Tostaky » notamment qui, soit-dit en passant, reste encore aujourd’hui, comme l’un des plus beaux cuirassés du rock français. Et puis, dans un autre registre, il y a eu Miossec …

https://www.youtube.com/watch?v=XPy7fhvBG6A

Comment découvrez-vous les chansons du brestois ?

Miossec n’est pas de Brest mais d’Ouessant. J’ai découvert son univers artistique avec l’album « Boire » ou figure la chanson « Brest ». Chez lui, il y a comme une langue instinctive de cette ville. L’émotion qui se dégage de son texte est un peu moche, il faut le dire, mais je trouve ça d’une beauté magistrale. Dans cette forme de pudeur qu’ont les Bretons, il est excellent. Je suis également très fan d’une reprise d’un morceau de Joe Dassin « Salut Les amoureux » où Miossec me file la chair de poule à chaque fois que je l’écoute.

Vous avez écouté « Mammifères », son dernier album ?

Non, pas encore.

En 2012, vous tweetiez le morceau « Beautiful Day » de U2, dès le premier tour des Présidentielles. Et aujourd’hui ?

J’avais oublié ça… Là c’est difficile. Quatre ans plus tard, je m’excuserais peut-être… Non, on avait le droit d’y croire et je n’ai pas envie de m’abandonner au désespoir. Donc, j’irais chercher des choses légères, plus insouciantes. Je n’ai pas envie d’être dans la gravité, je tweeterais un truc un peu féminin, doux, entre jazz et blues, genre Melody Gardot ou Alela Diane.

[La musique] c’est un vrai sujet car dans les meetings, il va falloir qu’on sorte un truc un truc joyeux, positif. J’ai bien aimé l’album de Jain avec notamment le titre « Come » que je trouve très fédérateur.

En tant que futur probable candidat à la primaire socialiste, quel morceau choisiriez-vous pour lancer votre campagne ?

C’est un vrai sujet car dans les meetings, il va falloir qu’on sorte un truc un truc joyeux, positif. J’ai bien aimé l’album de Jain avec notamment le titre « Come » que je trouve très fédérateur. C’est une jeune chanteuse qui fait du reggae blanc que j’ai découvert sur France Inter lorsqu’elle a fait une reprise très convaincante de « Mercedes Benz » de Janis Joplin.

Si vous n’aviez pas été homme politique, vous seriez-vous vu dans la peau d’une rock star, si oui laquelle ?

Je dois confesser que j’ai eu la chance de faire des meetings devant des milliers de personnes. Mais je pense qu’il y a quelque chose de plus incroyable encore, c’est de faire bouger les gens sur de la musique. Le 29 septembre 2007, j’étais au concert de Police au Stade de France et j’avoue que j’aurais adoré me retrouvé ce soir-là, sur scène, dans la peau des trois musiciens du groupe. Il y avait une vraie communion entre le public et eux, c’était magique.

  Retrouvez cet interview de Benoît Hamon dans vos kiosques ou en ligne

[smashpages]

2019 Eisner Award nominees announced

The nominees for the 2019 Will Eisner Comic Industry Awards have been announced by Comic-Con International. Image Comics received the most nominations with 19, while DC Comics received 17 nominations (not including the “shared” categories, like colorists who work for multiple companies).

On the creator end, Tom King received the most nominations with six, followed by Alex de Campi and Jeff Lemire with four. Also, if you’re of the betting persuasion, here’s a tip: put your money on an Image series walking away with the Best New Series Eisner.

The announcement follows the list of nominees for the Will Eisner Hall of Fame, which was released in January. The awards will be announced in July at Comic-Con International in San Diego. Check out the complete list of nominees below.

Best Short Story

“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)

“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)

“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)

“Life During Interesting Times,” by Mike Dawson (The Nib), https://thenib.com/greatest-generation-interesting-times

“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)

“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)

Best Single Issue/One-Shot

Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)

Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)

No Better Words, by Carolyn Nowak (Silver Sprocket)

Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)

The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)

Best Continuing Series

Batman, by Tom King et al. (DC)

Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)

Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)

Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)

The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)

Runaways, by Rainbow Rowell and Kris Anka (Marvel)

Best Limited Series

Batman: White Knight, by Sean Murphy (DC)

Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)

Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)

Mister Miracle, by Tom King and Mitch Gerads (DC)

X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)

Best New Series

Bitter Root, by David Walker, Chuck Brown, and Sanford Green (Image)

Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)

Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)

Isola, by Brenden Fletcher and Karl Kerschl (Image)

Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)

Skyward, by Joe Henderson and Lee Garbett (Image)

Best Publication for Early Readers (up to age 8)

Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)

Petals, by Gustavo Borges (KaBOOM!)

Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)

This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)

Tiger Vs. Nightmare, by Emily Tetri (First Second)

Best Publication for Kids (ages 9–12)

Aquicorn Cove, by Katie O’Neill (Oni)

Be Prepared, by Vera Brosgol (First Second)

The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)

Crush, by Svetlana Chmakova (JY/Yen Press)

The Divided Earth, by Faith Erin Hicks (First Second)

Best Publication for Teens (ages 13–17)

All Summer Long, by Hope Larson (Farrar Straus Giroux)

Gumballs, by Erin Nations (Top Shelf/IDW)

Middlewest, by Skottie Young and Jorge Corona (Image)

Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)

The Prince and the Dressmaker, by Jen Wang (First Second)

Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)

Best Humor Publication

Get Naked, by Steven T. Seagle et al. (Image)

Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)

MAD magazine, edited by Bill Morrison (DC)

A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)

Woman World, by Aminder Dhaliwal (Drawn & Quarterly)

Best Anthology

Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)

Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)

Twisted Romance, edited by Alex de Campi (Image)

Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)

Best Reality-Based Work

All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)

All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)

Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)

Monk! by Youssef Daoudi (First Second)

One Dirty Tree, by Noah Van Sciver (Uncivilized Books)

Best Graphic Album—New

Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)

Come Again, by Nate Powell (Top Shelf/IDW)

Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)

Homunculus, by Joe Sparrow (ShortBox)

My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)

Sabrina, by Nick Drnaso (Drawn & Quarterly)

Best Graphic Album—Reprint

Berlin, by Jason Lutes (Drawn & Quarterly)

Girl Town, by Carolyn Nowak (Top Shelf/IDW)

Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)

The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)

Young Frances, by Hartley Lin (AdHouse Books)

Best Adaptation from Another Medium

Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)

“Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)

Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)

Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)

To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)

Best U.S. Edition of International Material

About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)

Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)

Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)

Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)

A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)

Best U.S. Edition of International Material—Asia

Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)

Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)

Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)

My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)

Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)

Best Archival Collection/Project—Strips

Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)

Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)

Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)

The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books

Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project—Comic Books

Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)

Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)

Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)

Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)

Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)

Best Writer

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)

Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)

Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)

Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)

Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)

Best Writer/Artist

Sophie Campbell, Wet Moon (Oni)

Nick Drnaso, Sabrina (Drawn & Quarterly)

David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)

Nate Powell, Come Again (Top Shelf/IDW)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Jen Wang, The Prince and the Dressmaker (First Second)

Best Penciller/Inker or Penciller/Inker Team

Matías Bergara, Coda (BOOM!)

Mitch Gerads, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Sonny Liew, Eternity Girl (Vertigo/DC)

Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)

Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)

Best Painter/Multimedia Artist (interior art)

Lee Bermejo, Batman: Damned (DC)

Carita Lupatelli, Izuna Book 2 (Humanoids)

Dustin Nguyen, Descender (Image)

Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Best Cover Artist (for multiple covers)

Jen Bartel, Blackbird (Image); Submerged (Vault)

Nick Derington, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Joshua Middleton, Batgirl and Aquaman variants (DC)

Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)

Best Coloring

Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)

Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)

Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)

Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)

Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)

Best Lettering

David Aja, Seeds (Berger Books/Dark Horse)

Jim Campbell, Breathless, Calexit, Gravetrancers, Snap Flash Hustle, Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge, Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings, Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)

Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)

Best Comics-Related Periodical/Journalism

Back Issue, edited by Michael Eury (TwoMorrows)

The Columbus Scribbler, edited by Brian Canini, columbusscribbler.com

Comicosity, edited by Aaron Long and Matt Santori,  www.comicosity.com

LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)

PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com

Best Comics-Related Book

Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)

Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)

The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)

Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)

Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)

Best Academic/Scholarly Work

Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)

Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)

The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)

Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)

Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)

Best Publication Design

A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)

The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)

The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)

Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Aztec Empire, by Paul Guinan, Anina Bennett, and David Hahn, www.bigredhair.com/books/Aztec-empire/

The Führer and the Tramp, by Sean McArdle, Jon Judy, and Dexter Wee, http://thefuhrerandthetramp.com/

The Journey, by Pablo Leon (Rewire), https://rewire.news/article/2018/01/08/rewire-exclusive-comic-journey/

The Stone King, by Kel McDonald and Tyler Crook (comiXology Originals)  https://cmxl.gy/Stone-King

Umami, by Ken Niimura (Panel Syndicate), http://panelsyndicate.com/comics/umami

Best Webcomic

The Contradictions, by Sophie Yanow, www.thecontradictions.com

Lavender Jack, by Dan Schkade (WEBTOON), https://www.webtoons.com/en/thriller/lavender-jack/list?title_no=1410&page=1

Let’s Play, by Mongie (WEBTOON), https://www.webtoons.com/en/romance/letsplay/list?title_no=1218&page=1

Lore Olympus, by Rachel Smythe, (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=1

Tiger, Tiger, by Petra Erika Nordlund, (Hiveworks) http://www.tigertigercomic.com/