text:
|Back-cover photo, Cerebus #87 (June 1986)
Monday, 31 December 2012
Sunday, 30 December 2012
Cerebus vs Madmen
|Glamourpuss #18 (March 2011)
Art by Dave Sim
For the first time since Cerebus #300 in March 2004, Cerebus returned to comics in 2011, in a ten-page sequence in Glamourpuss #18, trying make sense of the celebrity, movie and music culture of 1950s America.
Back issues of Glamourpuss are always available from ComiXpress.
Saturday, 29 December 2012
Four More Years!
Friday, 28 December 2012
A 'Dave Sim' Sketch by Bill Sienkiewicz
Labels: Bill Sienkiewicz, Sketches
Thursday, 27 December 2012
High Society Digital #13 - Out Now!
Available from Cerebus Downloads
Out Now! Only 99¢
"It's PETUNIACON DAY TWO and there is no shortage of unanswered questions, like: IS Cerebus going to be sketching rocks today? WILL Lord Julius answer a direct question about interest rates on the "Us and Them: Eradicating Them" panel? And WILL Elrod accept Cerebus' challenge to determine who is the better sword fighter, mano a aardvarko? I'm Dave Sim and -- as the co-creator of comics' only 6,000-page graphic novel -- I'm willing to bet you often wished that Marvel and DC would spice up Comicon with something similar."
People everywhere agree that HIGH SOCIETY is Award-Winning (Eisner; Harvey; Shuster, Ignatz, Wizard) graphic novelist Dave Sim's greatest and most hilarious work. It regularly gets a 5-star rating on lists of the Greatest Graphic Novels of All Time. In addition to the 20 pages of art and story, you also get everything that was in the original comic book -- Deni's Note from the Publisher, the original ads, the original letters pages, the original back cover and inside back cover.
BONUS! Original documents from the time period from Dave Sim's Cerebus Archive as well as pages from Dave Sim's original Notebooks (where he plotted and designed each issue) accompanied by Sim's own annotations.
"The Strange Death Of Alex Raymond" Update - December 2012
Originally serialised within the pages of the self-published Glamourpuss #1-26 (April 2008 to July 2012), The Strange Death Of Alex Raymond is an as yet uncompleted work-in-progress in which Dave Sim investigates the history of photorealism in comics and specifically focuses on the work of comic-strip artist Alex Raymond and the circumstances of his death on 6 September 1956 at the wheel of fellow artist Stan Drake's Corvette at the age of 46.
(from the Kickstarter Update #132, 13 December 2012)
...What I've done so far is to strip all of the HISTORY OF PHOTOREALISM IN COMICS pages out of individual issues of glamourpuss (#1 to 26), building a rough approximation of "the graphic narrative thus far". Then I went through making the most obvious corrections, reading it critically and making notes of trains of thought I pick up on later in the story and putting in new page numbers. Also looking to natural breaks in the narrative, dividing it into separate sections. Originally, three sections, each of which I've been carrying around in its own Silver Age comic bag to make sure all the pages stay in order and that I only have one part of the book out of the bag at any given time. The plan is to do that at the beginning of every month after I've done the IDW covers. The experience here in month #2 has been that doing it that way, I'm getting more "finicky" about what I want to correct because all the obvious things have been corrected. So that leaves the ones that I stared at the first time through and decided "Oh, hell: skip it." No, let's not skip it, let's fix it. Good example: capital "i's" in the Kubert lettering font. A natural typo because it's, you know, ALL caps for the most part. Only the capital "i" actually looks different -- serif instead of non-serif. So I circled any captital "i" in the middle of a word (and I'm still finding those). But then there would be a capital "i" at the beginning of a sentence. Hmm. Well, that SHOULD be a capital "i", right? But it looked funny. The only place a capital "i" looked right was as the personal pronoun. But I decided to leave it. But the second time through, I went, well, no, it LOOKS wrong and it's very subtle so the odds are it's going to dislocate you the reader unconsciously. Was that true? Yeah, I decided it was true. So this month going through I circled all of those. But there are a number of things like that where I have the advantage of 30 days to mull it over unconsciously and to have it "front and centre" when I go back to it.
I'm also doing "bridging" pages -- new transitions where I thought the original transition was too quick for what I was trying to say. "It needs a 'beat' here". So I'd do a sketch of it and tag it "new page" and put it in sequence. Reading THOSE this second month, I seriously missed the tone of the sequence so I have to rewrite them in month #3. Always working to smooth the whole thing out.
So, by the middle of month #1 (November), I had four basic sections:
The idea being that I then had the structure and all I needed to do was to get all my "ducks in a row" and drop them into one of the four sections. For instance, section 1. ends with a missing bridge: the second and third photorealistic strips (BIG BEN BOLT and TWIN EARTHS). I originally credited HEART OF JULIET JONES with being the second photorealistic strip. Oops. Having gotten all that done, then I just started writing out everything I knew about the book, 12 hours a day, six days a week. Pretty much without a break. This part. Then this part. Then this part. Just whatever came back to me. After a couple of weeks of that...
[which included my trip to Texas over American Thanksgiving where my host, the surgeon, owned all of the issues of glamourpuss but hadn't read any of them, got swept up in THE DEATH OF ALEX RAYMOND by way of medical misinformation in "Alex Raymond's Last Ride". Oh. Never occurred to me. The two "narratives of record" are riddled with mistakes: why would I think they got the medical stuff right? Got him to spell everything SLOWLY. He showed me citations on the Internet and in his textbooks. The guests are all arriving for Thanksgiving and we're hunched over his laptop looking at newspaper articles about the accident which he's having no luck copying, so I'm transcribing them by hand. Um, "T", maybe you should get showered and changed? Naw, they're more like family than friends.
The trip really did help because there was nothing there to distract me from writing the book while he and his wife were at work. And I got to watch the Texas Longhorns (HOOK 'EM HORNS!!) lose to TCU 20-13 AT the U of T stadium with "T" and brother "T" and "B" -- and WTF text messages from his lovely wife "M" watching on television at home. American college football on Thanksgiving -- how cool is that?]
...I thought, "I have to start dividing this up into the 4 sections" more than anything because just writing everything out was getting relentless and mind-numbing. But, as I started doing that -- reading over my notes, again and again -- I realized that there were more distinct sections than I had originally thought. THAT was interesting. What am I seeing here? The first four sections remained but then segued into (tentatively!):
8. Um -- I don't want to alarm anyone, so let's call this one UNTITLED for the moment
9. EPILOGUE or "HOW THEY ALL ENDED UP"
Not since I had the strange sense that the Glimmer Twins, Prince Mick and Prince Keef, were about to take over CHURCH & STATE have I had the impression that I was possibly losing control over my own book with part 6 there. Starting with new research materials from Eddie Khanna that APPEARED to confirm my suspicions about the relationship -- or, rather, "relationship" -- between Margaret Mitchell and Ward Greene. Condense, condense, condense. What is this SAYING? Okay, got it under control (sort of). Reading it and getting the gist. Yes, but what is this SAYING? "And the moral of the story is...?" What? Got most of the ball. Close enough for government work. Opposite field single I might be able to stretch into a double. We'll fix it in post-op. To mix several metaphors. More Margaret Mitchell stuff from Eddie. This is getting closer to it. This is what my internal compass has been pointing at. But how do you condense this without writing another 100 pages? Graphic Novel Skill Sets 101. DAAaarrr.
MORE Margaret Mitchell stuff from Eddie. MARGARET MITCHELL REPORTER. Her pre-GONE WITH THE WIND Atlanta journalism. Rodolph (original spelling) Valentino, some laugh-out-loud funny pieces (I mean, eighty years later), like getting dropped out of an office window in a bosuns chair so she'd know how the Stone Mountain sculpture was going to be accomplished. All 4 foot 11 of her. I'm not going to get anything SPECIFIC out of this, I knew, but there comes a point where you have to read that sort of stuff. 330 pages, big type, lots of space between the lines. Took about six hours. Yes, THE HEART OF MARGARET MITCHELL is definitely worth a section of the book. But it has to be CONDENSED.
Okay, that brings you up-to-date on my progress on THE STRANGE DEATH OF ALEX RAYMOND (since you're helping pay for it!). Now I'm going back to the house to read the book she wrote in high school that seems to be a linchpin I've been looking for (and which Eddie was pretty excited about when he read it: at first he wasn't going to send it to me, just the annotations accompanying it. Having read the annotations, I sent him a postcard saying I think I need to read the whole thing.) (Which arrived the day after he had read it and decided the same thing.)
Remember! $1, $5 or $10 donation buttons at CerebusDownloads.com. We'll see how long we can keep this going. It really is down to all of you.
Wednesday, 26 December 2012
Aardvark Berserk!
Tuesday, 25 December 2012
Merry Christmas!
Labels: Art and Illustration, Christmas
Note On The 16th Printing Of Cerebus Volume One
This printing marks the first time that I've directed fundamental corrections and restorations to be made in the original material since first producing it more than thirty years ago, a choice precipitated by George Gatsis making me aware of flaws which resulted from the conversion of the original photographic negatives to digital files several years ago (itself made necessary by the worldwide computer revolution which eliminated the possibility of continuing to print the trade paperbacks via the traditional negative/metal plate web offset printing form).
I have been advocating for some time that publishers of classic comic strips should be updating each successive printing of their collections with high quality scans from original artwork which has surfaced in the interim and came to the conclusion that I needed to "practice what I preached".
[I had tended not to because, frankly, I didn't think my earliest artwork on Cerebus warranted it. I was an enthusiastic amateur or -- at best -- a semi-professional and find it very hard to look at the work at all closely. So, I've pretty much just approved each successive printing after no more diligent checking than to make sure all the pages are in the right order.]
George Gatsis developed the CEREBUS PAGES IN THE WILD program to try to track down as many original pages as still exist and which we could gain access to. A complete list of the original pages incorporated into the 16th printing appears on TheCerebusArtCollection.com.
|Click image to enlarge
|Click image to enlarge
All of the digital scanning from original source materials for the volume was performed by Alana Wilson at 1200 dpi or higher under George Gatsis direction and then George himself "tweaked" each digital file for the greatest possible coherence, to make sure all detail was brought out as clearly as possible. A copy was then printed out for me of the digital files so that I could offer further guidance where a page, in my view, had gone too dark or too light.
|Click image to enlarge
Panel and caption borders which had broken up or faded have, likewise, been restored by digitally "cloning" the lines that remain and grafting them directly onto the empty areas. This has been avoided with the word balloons which are not composed of straight lines and which I, therefore, consider part of the artwork which can't be successfully restored because I don't draw them that way anymore. 2012 Dave Sim can't "do" 1981 Dave Sim or "correct" 1981 Dave Sim without superseding him, so 2012 Dave Sim is keeping his pen and ink to himself.
Many thanks to George and Alana for their tireless work on this volume. If you own any of the original pages from the first 25 issues which don't appear on George's list, please see his specifications which follow the list and, if it all possible, help us to "swap out" one more second generation copy for a first generation one.
Labels: Cerebus (Collections), Restoration
Monday, 24 December 2012
Gerhard's Photos: Page 45
Aardvarks Over UK Tour '93:
Jeff Tundis had posted a bunch of my old photos on his Art of Gerhard website quite a while ago. I've just started going through my old photos again and here are a few that aren't on his website.
Aardvarks Over UK Tour '93:
A trip to do a signing at the amazing Page 45 in Nottingham co-founded by Stephen Holland and Mark Simpson, "a comic shop whose goal has always been simple: to bring the widest range of quality comics and graphic novels available into contact with as many new people as possible, and to do so with a warmth, honesty and informed eloquence in a relaxed, welcoming and professional environment".
|L to R: Me, Serious Dave Sim, Sombre Stephen Holland (seated) and Solemn Mark Simpson.
I have no idea why I'm the only one grinning like an idiot.
|Back-cover Cerebus #177 (December 1993)
Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.
Labels: Gerhard's Photos, Page 45
Sunday, 23 December 2012
Gerhard's Photos: The 'Flight' Flight
Jeff Tundis had posted a bunch of my old photos on his Art of Gerhard website quite a while ago. I've just started going through my old photos again and here are a few that aren't on his website.
March 1993: We needed to sign 5,000 copies of the Flight trade paperback and decided that it would easier to for us to go to Preney Print in Windsor than for the mountain of books to come to us. So we chartered a plane. This definitely tops out our "rock star" days of limos, fancy hotel rooms and bar tabs as long as our arm. We had reasoned that for us, at that point, time was more important than money and the less time we spent on the road, the more we spent at the drawing board. I got to sit up in the cockpit with our pilot (who let me fly for a bit) while Dave crashed out in the back.
We had decided not to try to autograph 5,000 printed and bound books. They would be just that much more difficult to maneuver. So we signed the first untrimmed and unbound group of pages (oddly enough know as a "signature"). As you can see, signing over five thousand signatures is no laughing matter.
Here we are with our stack of 5,110 signed signatures ready to be bound. We had signed extras in case there were problems in the binding and shipping process. Which there always are.
Dave had finished signing first and was talking with Kim Preney about where to go for dinner. Kim said he would go call a cab and as I was scrawling my last few "Gerhard"s, I saw myself write "CABhard" instead.
Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.
Saturday, 22 December 2012
Barry Windsor-Smith vs Jack Kirby
|Young Gods (2003) and The Freebooters (2005)
By Barry Windsor-Smith
Available from Fantagraphics Books
(from a letter to Barry Windsor-Smith on 16 March 2004, Dave Sim's Collected Letters Vol 1)
I think the colouring on Storyteller may prove to be one of it's greatest legacies: I have no aptitude and consequently, very little interest but I think it will serve as a textbook of how accomplished on-the-fly water-colouring can be in capturing the mood and tempo of the early Marvel Comics while bringing the look to a more adult level. With that many elements to pull together on a monthly basis, you certainly explored the outer realms of go-GO-GO which I think many people underestimate as a critical element of Kirby's own manifold successes. At one level, of course, it would be described as 'hacking'. But to me, at the deeper and more important level it is an inherent quality of 'this end' of the comic book medium. Kirby didn't really become KIRBY until he was producing eight to ten pages of finished pencils a day. It made him and arguably it broke him as well when he tried to make the transition to DC and to do it without Stan [Lee]. You shouldn't underestimate, I don't think, your own unique composition of being Jack and Stan rolled into one. No one has ever suggested seriously that Barry Smith lost his way when he didn't have Roy Thomas to write his cations and word balloons anymore. This is no small thing, no small advantage that you hold. Kirby was out of his depth almost immediately and what was worse I don't think that he ever understood how out of his depth he was. It must have been maddening to realise that what Stan Lee did effortlessly, Kirby couldn't do in a month of Sundays. As I just wrote to someone recently, Stan Lee was a more deferential collaborator than he's given credit for. He worked around other people's pencils, he tailored his story to the images on the pages in front of him. The story not only flowed, but the captions and word balloons fit comfortably. Contrast that with the many who came after who filled every square inch with verbiage. You have that skill. Your stories read very smoothly. The awkward transition from one balloon to another where you read them out of sequence (which happens to all of us) is very much below the industry average in your work and the reader always works with you in those situations. The narrative flow is sufficiently compelling that it doesn't pull us out of the story. I wish I could find a way to really emphasis this to you (maybe italics?): you have a structural benefit to your work that Jack Kirby completely lacked. A very rare combination. At the same time, I think it must be said, that you and Kirby share a blind spot: the belief that if your work is profitable for a company that the benefits will accrue to you. And you both experienced very hard lessons in that end of things. How much of Kirby's work was in print when he died? How much was he being compensated for it? How much of his work was tied up in petty legalisms and red tape - or just plain gone because no one knew where the negatives were or who owned the reprint rights to them?
Friday, 21 December 2012
Doing The Right Thing
(from a letter to Jamie D. Buckley, 17 June 2004, Dave Sim's Collected Letters Vol 2)
People who try to "live their dream", in my experience, tend to be seduced rather easily by whatever seems the most dream-like in their vicinity. I'm scarcely pointing fingers in this situation - for a period of time in the late eighties, barrelling down Highway 401 in the back of a stretch limousine while having sex with my girlfriend and drinking a good vintage Dom Perignon champagne seemed to me that was "living my dream". Of course, nothing could have been further from the truth. Anything that makes you feel as if you've just consumed an entire chocolate cake in one sitting isn't a dream, it's a nightmare. At the same time that I was doing that, I had a script for the first issue of Ricky Robot written by Jerry Siegel, the man who created Superman. I had drawn a two-part Cerebus preview of the character and I was well aware that I was pretty much his last chance at the brass ring. No one else would publish his work besides Eclipse Enterprises, which had likewise printed a token offering, The Starling. Both scripts had circulated everywhere in the burgeoning direct market.
In retrospect, I certainly wish that I had foregone any number of sexual episodes, any number of girlfriends, any number of binge-drinking nights and drug-smoking and drug-snorting days and used half of all that completely wasted time, money and energy to give at least an honest try at bringing Mr. Siegel's creation to market. It would have required a certain amount of problem-solving, rounding up a certain number of creative volunteers to collaborate on the artwork, all of us doing the jobs required as a hobby, just, basically pitching in. And in the end, it probably wouldn't have sold beans. It wasn't very good. It was mawkish and sentimental and outdated for the 1960s, let alone the 1980s. And, of course, it wasn't Superman, which is the problem Mr. Siegel faced all of his life, from the time that he found out that he had signed his creation away and there was no getting it back. That sort of lightening never strikes twice.
But, there's no question that anyone making a living in the comic book field - in whatever decade - owed Jerry Siegel a monumental ethical and spiritual debt which none of us - together or separately - could ever begin to repay, but which none of the cartoonists and publishers of my generation, very much to our ineradicable shame, ever made more than a half-hearted attempt to repay [in] the only way that would have meant anything to Jerry Siegel: One more shot at the big time.
So, I hope you understand my point. "Doing the right thing" is infinitely more important than "living your dream".
|Ricky Robot: The Creation Of Ricky
Cerebus #64/65 (September/August 1984)
Written by Jerry Siegel, art by Dave Sim
Labels: Creators Rights, Other Comics, Superman
Thursday, 20 December 2012
The First Fifth Prints
|The First Fifth: Plates #1-3 (1985)
Art by Dave Sim & Gerhard
(Click Image To Enlarge)
(from an essay posted at The Beguiling, July 2004)
This was a recent discovery in unearthing the Cerebus Archive, several complete sets of The First Fifth series of prints which Ger and I did in the unsettled days when Aardvark-Vanaheim, Inc. had just been permanently divided into my Aardvark-Vanaheim imprint and Deni's Renegade Press imprint. Among the various clauses we had mutually agreed to: I agreed not to contest or compete for any of the services of the cartoonists or of the books we had been jointly publishing to that point; I agreed to assume all of the debt incurred in the publication of The Animated Portfolio (roughly seventeen thousand dollars owing to my serious overestimation of the incentive value of a low price, $12.00 for 45 colour plates) and we agreed to divide the cash-on-hand between us. This essentially allowed Deni to start with a clean slate and encumbered Aardvark-Vanaheim with a debt-to-assets ratio of about three-to-one...
So, one of the first things I chose to do was something I had been loathe to do from the beginning: to essentially reverse the structure of the Animated Cerebus (an excessive number of prints, 45, for a dramatically low price, $12) and to rush into production a modest number of prints, 6... for a cost of what I considered at the time and still consider today to be an excessive amount of money, $100; $300 for Gerhard's hand-coloured version (of which there is only one copy of the original 30 sets in the Cerebus Archive and, no, you can't have it): in this case a series of six prints, each of which would represent ten issues of the 60-issue "First Fifth" of the 300 issues we were shooting for. Print one, issues 1 to 10, print two, issues 11 to 20 and so on up to issue 60. They sold well enough to pay off many of our most pressing debts and to pay down a chunk that was owed on the Animated Cerebus, bringing our debt-to-assets ratio down to something more manageable, in the range of 1-to-1, rather than 3-to-1.
At the time, I really didn't think much of the series - probably a residual impact resulting from the unattractive motivation in doing them in the first place - so I was surprised to find how much the ensuing two decades or so had brightened them up in my eyes. They are, quite distinctly, in Ger's and my mid-eighties style which is something I obviously just couldn't see in the mid-eighties as anything but the style I was looking at every day on the wall as we produced the monthly book. It was one thing to do over-sized ambitious works like Cerebus' Six Deadly Sins when it was my own time I was occupying, quite another thing to shoot for something that ambitious with someone who was still getting used to a monthly schedule (Ger, I mean, who already had his hands full with the trial-by-ordeal of producing 30 hand-coloured editions of the set). Looking at them now, I can see that I was gradually losing my late-seventies early-eighties over-rendered brush style - where I was using a lot of brush (as I've already mentioned, rather ineptly) and attempting to imitate brush effects (equally ineptly) - and was, instead, coming to accept that I was a Hunt 102 pen-and-ink guy through-and-through and that I was, by 1985, learning to deal with the pen nib on its own terms as its own instrument and not as a brush substitute or a means of imitating a brush line. And Gerhard - just about a year into his work on the book - was quickly losing his choppiness and uneven densities which were better suited to the illustration schools of the previous century and was starting to understand how sharply defined the parameters of a picture needed to be in the comic-book field. The combination of our styles was still coming into and going out of focus...
(critically speaking: on plates 2, 3, 5 and 6, I'm going too far into the simplified and stylized Sienkiewicz pen line that I didn't have the artistic knowledge to carry off but which was, at least, permanently weaning me off my brush and Gerhard is still oscillating between a balanced series of textured pen lines on plate 1 and 3 and an overuse of "pebbly" letratone on plates 4, 5 and 6 which he could probably have done more pleasingly with pen lines in the space of time it took him to cut out all the individual rain tracks and leaves)
...but it was more often in-focus than out of focus by 1985.
Anyway, it was with genuine gratitude to the art-buying Cerebus readership (many of whom are still with us and still bidding on Cerebus pieces today as they come onto the market) that The First Fifth "worked" in the way it very much needed to if Ger and I were to have a fighting chance of making it to the mythically-distant issue 300. We sold out virtually all of the black-and-white series and the colour edition in a little over a month and were able to pay off a sufficient number of debts to ensure that all we had to focus on was keeping the book as good as possible and on schedule.
|The First Fifth: Plates #4-6 (1985)
Art by Dave Sim & Gerhard
(Click Image To Enlarge)
Wednesday, 19 December 2012
High Society Digital #12 - Out Now!
Available from Cerebus Downloads
Out Now! Only 99¢
"How many times have you wondered to yourself -- or out loud -- 'If you could cross a political convention with a comic-book convention, what would that be like?' My best guess is that it would be a lot like PETUNIACON in this very issue of HIGH SOCIETY. Political delegates! Panels! Bribery! Elrod 'bunny' sketches! Cerebus 'tree' sketches! I'm Dave Sim, co-creator of comics' only 6,000-page graphic novel, and I hope I can count on your 99 cents!"
People everywhere agree that HIGH SOCIETY is Award-Winning (Eisner; Harvey; Shuster, Ignatz, Wizard) graphic novelist Dave Sim's greatest and most hilarious work. It regularly gets a 5-star rating on lists of the Greatest Graphic Novels of All Time. In addition to the 20 pages of art and story, you also get everything that was in the original comic book -- Deni's Note from the Publisher, the original ads, the original letters pages, the original back cover and inside back cover.
BONUS! Original documents from the time period from Dave Sim's Cerebus Archive as well as pages from Dave Sim's original Notebooks (where he plotted and designed each issue) accompanied by Sim's own annotations.
Tuesday, 18 December 2012
It's Okay Not To Like Dave Sim
|Cerebus #219 (June 1997)
Art by Dave Sim & Gerhard
(from 'Dave Sim Responds To The Fantagraphics Offer' at TCJ.com, 29 September 2012)
...I'm not sure what the point of all the political discussions we're having here is. Lurking behind the discussion seems to be the assumption (perhaps on Sim's part and that of his allies) that whoever publishes Cerebus should share Sim's politics. There is the further assumption that the best person to write an introduction to Cerebus is someone who is broadly simpatico not just with Sim's aesthetic aims but also his politics and very idiosyncratic worldview. But if we think about it, there is no necessity for politics and publishing to be in alignment in this way. Chris Oliveros [Drawn & Quartely publisher] is far from being a libertarian, but that doesn't prevent him from doing an excellent job keeping Chester Brown in print. Fantagraphics publishes cartoonists with a diversity of political points of view: Carl Barks was classical conservative and Peter Bagge is a libertarian, as is (if I remember rightly) Rick Altergott. I actually don't know the politics of most Fanta cartoonists (or most cartoonists in general). In literature, James Laughlin during his distinguished tenure at New Directions published many writers of the right (Ezra Pound, Celine, Mishima, Kenner) but also many liberals and radicals (George Oppen, W.C. Williams, Guy Davenport). Aside from his first two books, William F. Buckley almost always worked with liberal editors and publishers. As a Hemingway expert, Sim is probably aware that Maxwell Perkins didn't necessarily agree with the politics of his authors (who in any case had divergent politics).
For that matter critics and other readers don't have to be in sympathy with a writer's politics to enjoy it, especially if we are talking about a work of imaginative literature. Simply as a matter of fact, a critic or historian or analyst can be fair to an artist despite ideological disagreement. Hugh Kenner was a conservative Catholic in the National Review mould, but he was wonderfully appreciative of Louis Zukofsky and George Oppen, left-liberal Jews with a strong Marxist past. The socialist Irving Howe was equally insightful, and even good-naturedly affectionate, when writing about Kipling. And Fredric Jameson's Marxism hasn't prevented him from being a persuasive advocate on behalf of Wyndham Lewis, who can fairly be described as a fascist fellow traveler. Back when he was a radical, Christopher Hitchens wrote very good appreciations of several right-wing authors (Anthony Powell, Waugh, etc). Speaking for myself, I'll say that I have a very high regard for all sorts of writers and cartoonists whose politics I don't share: Harold Gray, for one, also Ditko, Barks, Bagge, and Chester Gould. Not to mention T.S. Eliot, Evelyn Waugh, Ezra Pound, Wyndham Lewis, Kingsley Amis, Philip Larkin, and countless others).
All of the authors mentioned above are writers who have politics that are far more repugnant to most people than Sim's (here is Larkin's political manifest: "Prison for strikers / Bring back the cat, / Kick out the n*****s – / How about that?"). Yet they remain in print and have an audience (as do on the opposite end of the spectrum communist writers like Neruda and Sartre). So I suspect that if Cerebus doesn't have the audience Dave Sim would like, it's not primarily because of politics. It may very well be because of format and accessibility. The types of people who would like an epic world-building graphic novel aren't going to like the format Sim is offering it in (and may very well not want to step into a comic book store). So the best move forward for Sim is to negotiate with a publisher like Fantagraphics (or someone comparable) who can bring Cerebus out in a more accessible & popular format.
Jeet Heer is a Toronto based journalist who focuses on arts and culture. He is co-editor, with Kent Worcester, of Arguing Comics: Literary Masters On A Popular Medium (University of Mississippi Press). With Chris Ware and Chris Oliveros, he is editing a series of volumes reprinting Frank King's Gasoline Alley (Drawn and Quarterly), and he has written introductory essays to George Herriman's Krazy & Ignatz (Fantagraphics).
Labels: Fantagraphics Offer, Reviews
Monday, 17 December 2012
It's Okay To Like Dave Sim
|Cerebus #217 (April 1997)
Art by Dave Sim & Gerhard
(the following article first appeared at The Artifice on 21 November 2012)
Dave Sim is one of the most polarizing figures in the comic book industry today. His political and religious views have earned him a place out on the fringes of society and have driven him to withdraw from public life. Sim's massive talent and contributions to the industry overall deserve wider recognition. So when I say "like Dave Sim", ultimately I mean his amazing body of work. For those of you turned off by the man, here are five reasons to allow yourself an opportunity to discover (or rediscover) the life's work of a master of the art form.
The elephant in the room creatively speaking is Cerebus, Sim's 6000 page narrative that ran from 1977 to 2004. Given there are 300 issues to choose from, is hard not to point to several sections of this amazing series but I have decided to highlight one of the better collections. Melmoth tells the story of Oscar, a supporting character seen in the previous book Jaka's Story. Based almost entirely on firsthand accounts of the last days of the great Oscar Wilde, this is a deeply emotional and harrowing story. The personal pain of the characters is almost too much to bear. Knowing that these events actually happened to real people makes this book stand out in a medium where the superficial and artificial are the norms. Cerebus himself is almost entirely absent, making this book a good place for the uninitiated, and the end of the book leads directly into the next collection drawing readers deeper into the world of Cerebus. Melmoth is the darkest of the books visually speaking and the sparse art leaves you feeling like you have visited something from a half-remembered dream. Normally the world of Cerebus is visually rich and complex, but here the heavy shadows and negative space cover this world like a shroud. Certainly not the funniest of the books (the first 100 issues or so are where you will find most of the humor) but to my mind, the most satisfying. The later books became somewhat bogged down in the controversy surrounding Dave's beliefs, but the first 200 issues are a joy to read and Melmoth was a creative high point.
4. The Strange Death Of Alex Raymond
The Strange Death of Alex Raymond was a co-feature in the Glamourpuss comic and has not yet been collected in a single volume. In fact the story has not yet been finished and may never be. As long as you can get past the story not having an ending, finding the original issues to read what is available is truly worth the effort. The story is a somewhat fictionalized account of the late comic creator, Alex Raymond's, last days and is a stunning work of Sim's photo-realistic line art. While Sim has said that this is still a learning process for him that is not evident in these amazing pages. Mixing the photo real with more traditionally styled art creates a real treat for the eyes and a very interesting story for the brain.
3. Lettering
'Lettering' I hear you ask? How can the lettering be a major factor in a comic? Or at least why should we care? This is easy to explain. In such a visual medium if you are not using every tool in the toolbox, you are failing to exploit the medium to its fullest potential. It would be like Maxfield Parrish or Vincent van Gogh painting sunsets with only one color. The artwork is only part of the story in a Dave Sim comic. Power, inflection, timing and even mood are all conveyed in the lettering of one of Dave's works. The page comes to life in ways an ordinary comic cannot and humor works particularly well when lettered by Sim.
2. The Ugly Personal Lives Of Artists
The personal lives and opinions of artists are rarely pretty. Every great genius in history has had issues in his life just like all of us. But with exceptionally creative people, things get a bit more complex. Dave Sim is not a popular person thanks to some of his more extreme views. However, society cannot ostracize one creative person for their beliefs while worshiping another without becoming a hypocrite. If crazy behavior or questionable lifestyles were means for dismissal from comics the short list would start with Wally Wood, R. Crumb, Al Capp and Steve Ditko. Add in 'socially awkward' and you can eliminate virtually every great creator in the medium. Comics is an industry of outcasts. Then again take the truly great from any creative medium as examples. If you set aside those people with mental issues, haunted minds, controversial opinions or even criminal behavior our museums and movie theaters would be very dull. Jackson Pollock, Salvador Dali, Charlie Chaplin, Pablo Picasso, Vincent van Gogh, Ingmar Bergman, Woody Allen and Andy Warhol are just a few that came to me in the time it took to type their names. There are literally hundreds of examples of people whose art has touched us, but whose socially unacceptable behavior would be abhorrent to us. In my opinion let the art speak for itself.
1. The State Of The Industry
The current state of the industry is debatable as is the financial health of many creators. However, consensus is conditions are much better now for creators and Dave Sim had a lot to do with that. The Creator's Bill of Rights that he helped draft in 1988 was largely mocked at the time due to the power structure of the industry. Many artists and industry executives thought it was just too radical to be a good thing. Twenty years later much of what was in that document has been quietly adopted as industry standard practices. On the publishing side, the trade paperback format was not new when Sim started releasing the "phone book" collections of Cerebus, but the early success of those volumes cemented reprint collections as a viable sector of the market.
I hope these reasons are convincing enough and there are many more examples that can be applied to just about any person who is controversial. Artists have issues and are not always the easiest people to get along with, but most creative people will tell you that what they want you to see and appreciate is the art not the person behind it.
Taylor Ramsey reviews comics old and new on his blog Terminal Drift, and contributes articles to The Artifice.
Sunday, 16 December 2012
Seeing Sound #10: Wordless Comics
|Epic Magazine #26 (Marvel Comics, October 1984)
Art by Dave Sim & Gerhard
(from the 'Eisner Goodwin Sim' panel talk, Will Eisner's Quarterly #4, 1985)
I think that's a lot of what you have to determine as you're going along: How much of the proportion is the writer and how much of the proportion is the artist? It will change from page to page. There are definitely pages where I feel much more like a writer - the reason for a particular page is for the writing. There are other pages where - while it's true that I'm writing pictures - it's the pictures that are going to bring the ideas across. Very often that can be the most difficult thing to do. The stories I'm doing for Archie [Goodwin]'s Epic magazine, I've set myself the boundary of not having words in them. That can be very difficult. You can't sit there and jot down lines of dialogue and eventually get the context from that. You have to start making pictures in your head, trying to create funny images that will play off each other.
Do you have a favourite example of Dave Sim's innovative lettering in Cerebus that you'd like to see featured here on A Moment Of Cerebus? Send in your selection (the issue and page number will do), together with a brief explanation of its appeal/impact on you, to: momentofcerebus [at] gmail [dot] com
Labels: Seeing Sound
Saturday, 15 December 2012
Toronto Cartoonists Workshop: Comics Lab - Cerebus 'Low Society'
The Toronto Cartoonists Workshop is a learning environment where aspiring cartoonists can study with working professionals. The Comics Lab is a forum where teams of freelance writers and artists are assembled to create and publish a professional comic book. Comics Lab simulates the working environment of a freelancer at a mainstream comics publisher with each freelancer working under the guidance and tutelage of series editor Rob Walton. Each course under the Comics Lab banner will deal with pre-existing characters and concepts thus adding the additional complexity of working with an established property. The winter 2013 version of Comics Lab will feature characters from Dave Sim's Cerebus.
With the editor acting as mentor and tutor, each writer is asked to submit a minimum of two script ideas for publishing consideration. The editor will then 'green light' one of the ideas after which a full script will then be developed. Rough layouts are then created and the storytelling, characterization, continuity and visual dynamics are improved and polished. Artists use the maximized layouts to begin the process of creating completed pencils and inks.
No prerequisite is required however each student must submit sample writing and art pages before being accepted to Comics Lab. Students must be able to adhere to strict deadlines. All prospective students should familiarize themselves with the Cerebus property prior to submissions. More details...
Special thanks to Dave Sim for graciously allowing us to use his characters for this special project!
Where: 587A College Street (at Clinton), Toronto, ON, Canada, M6G 1B2
When: Thursday evenings 7:00 pm – 10:00 pm, 17 January to 28 March 2013
Labels: Events, Rob Walton, Teaching Comics
Seeing Sound #9: "This Is Going To Sting A Bit..."
|Cerebus #224 (November 1997)
Art by Dave Sim & Gerhard
In this page, the reality of what is actually happening is conveyed in the speech balloons - Joanne is carefully cleaning Rick's small head wound - while the visuals depict how Rick is experiencing that reality - being chained in hell and attacked by a demon.
Do you have a favourite example of Dave Sim's innovative lettering in Cerebus that you'd like to see featured here on A Moment Of Cerebus? Send in your selection (the issue and page number will do), together with a brief explanation of its appeal/impact on you, to: momentofcerebus [at] gmail [dot] com
Labels: Seeing Sound
Friday, 14 December 2012
IDW Covers: The Colonized #1
by Chris Ryall & Drew Moss, covers by Dave Sim
On Sale: April 2013
Where there's aliens, there's zombies! The Colonized explores the arrival of these strangely interwoven threats in a secluded separatist town in Montana. In the Carbon Falls Collective, Huxley Robertson is dealing with the passing of his father and pushing against old guard objections as he attempts to push the separatist camp into becoming a fully sustainable green town. As if circumstances weren't volatile enough, a craft full of alien explorers inadvertently re-animates the town's dead! Throw a rogue ATF agent into the mix, on the hunt for the town's weapons cache, and let's just say this is a bad time for the otherwise sleepy Carbon Falls Collective to be cut off from the outside world. A potent mix of horror, drama, and black humor.
Exploring the idea of ultimate outsiders like aliens landing in a separatist community and then having both besieged by zombies sounded like ripe territory for commentary-free chaos and some thrilling Drew Moss artwork, but then when Dave Sim miraculously signed on to do covers, it made it all coalesce into something even bigger and better.
Chris said that he was doing a creator-owned 4-issue mini-series called THE COLONIZED and was I interested in doing the covers? He described Drew Moss' designs as "a kind of '50s Wally Wood sci-fi aesthetic... in brief, aliens and zombies and militia men... I always like something that can be a good representation of the series, since the image often has to function as both an ad for the series and also the eventual trade paperback design... I envision a big, bold 1950s blocky "IT CAME FROM OUTER SPACE!" sort of treatment that clues people in to the tone of this (it's largely played straight, not for laughs). And he offered me 50% of my cover rate if I would draw the logo.
I told him I couldn't DRAW the logo for that -- I'm not Don Simpson, I have no idea how to make all the outlines the same width in 100% accurate perspective -- but I could DESIGN a logo for that. So, I decided to pitch my "comic store display" concept: you only see the top third of the book on the rack and it's all just a big mass of coloured lettering unless it says BATMAN or SPIDER-MAN -- everything else is just "Look At My Big Colour NOUN" "No Look At My Big Colour NOUN!" So why not just have an interesting complete image visible in the top third with just the edge of the logo showing. The logo's a third of the way down the cover so the cover goes IMAGE LOGO IMAGE. It's a theory. Chris is editor-in-chief and its his book. He'll tell me. Pencilled and inked it on tracing paper and then shot it down on the photocopier to comic cover size, pasted it up, copied it again and faxed it to Marci (who deserves a raise by the way: I'm sure her job description said nothing about shlepping faxes around the office from technophobe Luddite Canadians) and Chris liked it! Easiest money I ever made in the comic field! Now I just had to wait for THE COLONIZED reference to come in the mail on disk. All I needed was one good, grabby wide-angled image that would fit OVER the logo.
The zombie took a long time and many takes and I couldn't figure out why. I was still trying too hard to make it look like Neal and thinking I was being pulled back to Joe. No, the zombie needed Wrightson/Ingels. All zombies need Wrightson/Ingels. Don't try to fight it. I'd know better for the cover of #2.
Chris sent me the scripts for #1 and #2, Drew's character designs and the pencilled and inked first 9 pages of #1. I focused on the latter (not wanting to ruin the story for myself by reading that far ahead on the script). Page 3 was what I was looking for: the scene where the aliens "abduct" a "corpse". The two-panel transition where the spotlight tractor beam crosses the Cemetery ironwork, the UFO hovering over the tombstones and the spotlight/tractor beam lighting up the scene. I added in the actual zombie rising up in the tractor beam. That did it for the strong "upper third" visual. For the "lower two thirds" visual I decided to make use of the "double size" length of the aliens arms to really make the eye travel by using three of the arms as parallel constructs and further emphasizing it with the zombie's arms stretching out like Boris Karloff in FRANKENSTEIN along the same parallel axis.
I was thinking "Neal Adams stylized realism/photorealism" but as usually happens with me, as soon as I had the aliens pencilled -- which is what I started with -- I went "They look like Joe Kubert aliens". Whatever artist I first see that tends to be how I end up drawing it. I decided to put a fourth alien in the extreme foreground to counterbalance the "left right" dominance of the parallel line construction. The one alien is pointing and looking up at HIM and HE'S looking up at me, going "Joe Kubert aliens? JOE KUBERT aliens?"
Labels: Dave Sim (Exclusive), IDW Covers
Please Donate To The Dave Sim Fund!
(from the Kickstater Update #132, 13 December 2012)
We have had a LOT of success with the $1, $5 and $10 donation buttons for the DAVE SIM FUND at CerebusDownloads.com, so MANY thanks to everyone who has contributed -- some already multiple times! -- since this is now a core part of Paradigm Three (or is it Paradigm Four?) which is: doing 4 covers for IDW a month (which took 8 days in November and 7 days in December) and then devoting the rest of my time to THE STRANGE DEATH OF ALEX RAYMOND... So far, it's working structurally: enough money coming in so -- SO FAR -- I don't have to spend any percentage of my time trying to figure out how to make money so I can keep working...
This is my first non-fasting day after finishing this month's four covers (DR.WHO #11 -- which was supposed to be #5 except I made a major mistake D'OH!, JUDGE DREDD #2, STAR TREK #? and SOON-TO-BE-ANNOUNCED #2) (it's not actually called that, it just hasn't been announced yet, a four-issue mini-series, written by IDW editor-in-chief Chris Ryall and drawn by Drew Moss -- I'm doing all four covers, God willing), so HOPEFULLY that's going to be our pattern for as long as Paradigm Three or Four holds: I do the IDW covers at the beginning of the month, then start on THE STRANGE DEATH OF ALEX RAYMOND...
Remember! $1, $5 or $10 donation buttons at CerebusDownloads.com. We'll see how long we can keep this going. It really is down to all of you.
This is my first non-fasting day after finishing this month's four covers (DR.WHO #11 -- which was supposed to be #5 except I made a major mistake D'OH!, JUDGE DREDD #2, STAR TREK #? and SOON-TO-BE-ANNOUNCED #2) (it's not actually called that, it just hasn't been announced yet, a four-issue mini-series, written by IDW editor-in-chief Chris Ryall and drawn by Drew Moss -- I'm doing all four covers, God willing), so HOPEFULLY that's going to be our pattern for as long as Paradigm Three or Four holds: I do the IDW covers at the beginning of the month, then start on THE STRANGE DEATH OF ALEX RAYMOND...
Remember! $1, $5 or $10 donation buttons at CerebusDownloads.com. We'll see how long we can keep this going. It really is down to all of you.
The Comic-Book Store Environment
|Inside-backcover, The Cerebus Guide To Self-Publishing (1997 )
Art by Dave Sim
(from the essay 'Comics & The Mass Medium Part 4' in Cerebus #216, March 1997)
Creator ownership and the control of their individual creativity by individual creators is at the root of the upheaval in the direct market and the actual source of alarm (whether they recognise it or not) among the "industry" adherents of collectivised thought and action. Industry roundtables, conferences, and symposiums appeared briefly and have now vanished. Much verbiage is still expended in the direct market over how to "grow" the market, how to reach out to non-comic readers and create a diversity of titles. The fact remains that - unless the individual in question is willing and able to sit down and write and draw a comic-book or a graphic novel or is willing to open a store which emphasises creator-controlled and -owned series instead of corporate-controlled and -owned series - there is really nothing that they can do apart from buying more good comics (whatever they conceive "good" to be).
I would suspect that those retailers who have retreated from the comic-book environment, grasping at the Television straw of diversification into X-Files and Star Wars and Star Trek, were never really in the comic-book environment to begin with. They have learned their adherence to trends, their adherence to brand names, their adherence to Television icons from Television (as I learned my adherence to the Toronto Maple Leafs from Television). DC, Marvel, Image and Dark Horse are - to them - ABC, NBC, CBS and Fox, month-by-month winners and losers, Good Guys and Bad Guys. Of course, there is no accurate analogy in the comic-book field. That is the strength of the medium, the strength of the Spirit of comic books. It is inconceivable that a writer would own his own television show and be solely responsible for every aspect of production and have the last word governing content and direction. Completely inconceivable. But, because DC, Marvel, Image, and Dark Horse are represented as ABC, NBC, CBS, and Fox, it is the rare retailer who can even conceive of comic books existing outside of that structure. They could read every word of the Fantagraphics catalogue and - having no Television network analogy for Fantagraphics - see nothing there. And, seeing nothing there, would be content to watch their comic-book business erode to nothing rather than perceive something outside of the Big Four Networks.
Labels: Self-Publishing
Thursday, 13 December 2012
Dave Sim Brings Cerebus Into The Digital Age
(from 'Dave Sim Brings Cerebus Into The Digital Age' at Publishers Weekly, 12 December 2012)
...the series still represents an unprecedented triumph in self-publishing and is one of the earliest examples of independent publishing success, planting the seeds for the current wave of creator-owned independent and self-published comics...
...Asked about his hopes for Cerebus' revival and its new publishing ventures, Sim was hopeful and blunt: "the same as everyone else's in the Internet age: that somehow it goes viral." If Digital High Society in its various forms is successful, other Cerebus books are likely to follow, bringing Sim closer to his goal of digitizing the entire series. For that the author still has a long and uncertain way to go, but as he says, "Anything's possible."
Labels: Reviews
Gerhard's Photos: '92 Tour Stops
Some Stops On The '92 Tour:
Jeff Tundis had posted a bunch of my old photos on his Art of Gerhard website quite a while ago. I've just started going through my old photos again and here are a few that aren't on his website.
Some Stops On The '92 Tour:
Dave signs autographs at our table with all of the art for sale that we lugged around. We sold quite a few, which helped finance airfare, hotels and... uhm... "incidental expenses".
Here's me auctioning off some artwork. We always had trouble setting a price for the pages and decided to let the people who wanted the page determine its value.
Another city, another signing, another bunch of pages sold, then home to draw some more.
Another city, another hotel, another table... we hit a lot of locations across the U.S. and they all looked very similar; an airport, a freeway, a hotel room, a restaurant, a room full of people... some of whom you get to meet once for few a minutes, stacks and piles and heaps of books to sign, another restaurant/bar, back to the room, then back on the freeway and back to the airport. Now, was that Dallas or St. Louis? It was Pittsburgh?!!?
Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.
Wednesday, 12 December 2012
High Society Digital #11 - Out Now!
Available from Cerebus Downloads
Out Now! Only 99¢
"Jaka -- the beautiful tavern dancer Cerebus fell in love with while drugged -- comes back into his life. Are they the same people -- or, rather, the same person and aardvark -- they used to be? Can they work through their relationship 'issues' and rekindle the magic they once knew? And what's inside that mysterious package Jaka brought with her? I'm Dave Sim. As the co-creator of comics' only 6,000 page graphic novel, I could tell you but -- don't take this personally -- I'd like to see the 99 cents, first, please."
People everywhere agree that HIGH SOCIETY is Award-Winning (Eisner; Harvey; Shuster, Ignatz, Wizard) graphic novelist Dave Sim's greatest and most hilarious work. It regularly gets a 5-star rating on lists of the Greatest Graphic Novels of All Time. In addition to the 20 pages of art and story, you also get everything that was in the original comic book -- Deni's Note from the Publisher, the original ads, the original letters pages, the original back cover and inside back cover.
BONUS! Original documents from the time period from Dave Sim's Cerebus Archive as well as pages from Dave Sim's original Notebooks (where he plotted and designed each issue) accompanied by Sim's own annotations.
Gerhard's Photos: Boogie Nights
Jeff Tundis had posted a bunch of my old photos on his Art of Gerhard website quite a while ago. I've just started going through my old photos again and here are a few that aren't on his website.
Boogie Nights: Dave getting' down at one of the many parties at Camp Woolner; a tiny cottage-type house out in the country with a pond and no neighbours where I lived and partied. I remember taking a cab home one night, telling the driver that I wanted to go to 200 Woolner Dr and was about to give him directions. He says, "Oh, it's okay, I know where that is." How did he know that? "Party House," he says.
Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.
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text:
Many patients who receive dialysis, neonatal or pediatric intensive care or need cancer services or assistance with complicated pregnancies may get help from Blue Cross Blue Shield and Sparrow Hospital after Dec. 31.
For certain patients, the two groups have agreed to keep insurance coverage and charges for medical bills the same for at least 90 days regardless of whether Sparrow and Blue Cross Blue Shield reach a contract agreement by Dec. 31.
According to the most recent agreement, patients will continue paying the same amount they currently pay for medical services if they fall into one of the above categories. They will also receive the same coverage they receive from Blue Cross Blue Shield for the services they receive.
Officials said patients should check with their employer to determine if their employer is cooperating with the insurance company in this most recent agreement.
Meanwhile, Blue Cross Blue Shield and Sparrow Hospital officials have indicated they want more time for negotiations. Sparrow Hospital has proposed that the contract be extended for 60-90 days. They said during that extension period, they would like Blue Cross Blue Shield to reimburse the hospital for medical services at a rate 9.4 percent higher than what they currently pay.
Blue Cross Blue Shield officials said they are not willing to pay that higher amount, but they are interested in extending the current contract they have with the hospital.

subset: commoncrawl


text:
One of the things I look for when it comes to nail polish is that it is fast drying..although no matter how fast it dries I always seem to smudge my polish! How do people stay still enough for their polish to dry completely?!?!
I have had a few No. 17 Polishes before and I have to say, I am impressed with them. These 3 colours are fairly new releases!
No 17 Fast Finish Nail Polish in Silk (rich deep green), Fury (Gold-green…Chanel Peridot-a-like?) and Revenge a mauve purple shade. All of the polishes have a metallic finish and I find the very easy to apply.
The thing about the No 17 Polishes is that they do appear on the smaller side but then I never finish a polish so I don't mind.
I can see why these 3 colours were released – they are interesting and suitable for Autumn and Winter. Yes they dry quickly – I would be doing anything too fancy when it's first applied but I did think it was touch dry within a few minutes. The fact it dries quickly makes it drag a little when you apply a second coat.
Another issue I had was a weird uneven pattern that formed on the nail once it had dried. I tried this out on my nails, on a few plastic nails too and I found it occurred on all of them (with the metallic green and gold) – I don't know if this just affected my batch though!.
Verdict: I like the green polish and the gold is unusual too. I'm not in love with any of the colours though and actually, thinking about it the fact it dries so quickly makes it tricky to layer it and gave me a funny finish.
Have you tried these shades?
*Press sample


text:
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Register of the Richard Thomas Kennedy papers
The Hoover Institution Archives only allows access to copies of audiovisual items, computer media, and digital files. To listen to sound recordings or to view videos, films, or digital files during your visit, please contact the Archives at least two working days before your arrival. We will then advise you of the accessibility of the material you wish to see or hear. Please note that not all material is immediately accessible.
|1919 Dec. 24
|Born, Rochester, New York
|U.S. Army (Colonel)
|Planning and financial management adviser to Iran
|Army General Staff, Washington, D.C.
|International affairs adviser, Office of the Assistant Secretary of Defense
|Senior member of the staff, National Security Council
|Director, Staff Planning and Coordination, National Security Council
|Deputy Assistant to the President for National Security Council planning
|Commissioner, Nuclear Regulatory Commission
|Undersecretary for Management, State Department
|Ambassador-at-large for nuclear non-proliferation affairs
|12 Jan. 1998
Subjects and Indexing Terms
General. Primarily NRC administrative issues
General. Annual report, pamphlet, regulations and memoranda primarily relating to the Sunshine Act and the Ethics in Government Act, 1975-1980
Conflict of interest, 1975-1980
Freedom of Information Act (FOIA), 1978-1980
Chronological file. Correspondence and memoranda
1977-1978 June
1978 July-1979 June
1979 July-1980 April
1980 April-July
Speeches. NOTE: The few copies of speeches by Richard Kennedy are found with related materials under the subsequent entry, "Trips"
General. Speeches by other NRC personnel, primarily Commissioners
Background materials. Materials for Commissioner Kennedy's speeches, arranged by subject
Energy, 1977-1980
International, 1975-1980
Non-proliferation and safeguards, 1975-1980
Nuclear power, 1974-1979
Nuclear power (contd.)
Quotations, 1977-1980
Radiation health effects, 1978
Regulation, 1975-1979
Seabrook (New Hampshire), 1978
States, 1977-1980
Statistics, 1976-1979
Three Mile Island, 1979-1980
Waste management, 1976-1980
Telephone logs. Includes attachments of appointment schedules and note pads
1974 Dec.-1975 June 13
1975 June 16-1977 Aug.
1977 Sept.-1979 March
1979 March-1980 June
Trips. Includes extensive briefing materials, and a few speeches (See Appendix for details)
Draft remarks, 1975 Feb. 24-Sept. 20. Aug. 20
(contd.) 1975 Sept. 20 -1976 June 18
1976 Aug. 2-Dec. 16
"The NRC and its Regulatory Role," 1977 Jan. 18-July. 1977 April 20
1977 July 11-Oct. 12
"Cleaning up Our Federal Energy Regulatory Mess," "Health and Safety Aspects of Nuclear Reactor Exports," Remarks, 1978 June 13-1979 Jan. 27. 1978 June 13; Oct. 11; 1979 Jan. 25
1979 Feb. 12-Nov. 13.
1980 March 27-May 6
General. Speeches, letters and responses to Congressional inquiries, 1976-1980
Adjudicatory process, 1975-1980
Hearing process, 1978-1980
Hearing process (Contd.), 1980
Immediate Effectiveness Study. Relates to the issue of nuclear power plant construction during adjudication proceedings. Includes several reports
Final report, 1978 Feb.-1979 Dec. 1979 Dec.
(Final report, contd.)- 1979 Dec. 1980 March
Lessons Learned. Study Group Recommendations, 1977 April-1979 Feb.
Export Reorganization Act (S. 1439)
1976 Jan.-March
1976 May-Sept.
1980 May-June
International Nuclear Fuel Cycle Evaluation (INFCE)
General. Speeches and articles, 1978 Feb.-1980 March
1977 Nov.-1979 Aug.
Licensing, 1976 Aug.-1977 July
Non-proliferation and weapons
Conferences. Collections of presentations
Japan Atomic Industrial Forum, 1978 March 14-16
International Conference on Regulating Nuclear Energy, 1978 May
National Security Affairs Conference, 1978 July 17-19
Atomic Industrial Forum Conference on Nuclear Non-proliferation and Safeguards, 1978 Oct. 24
Atomic Industrial Forum Executive Conference on International Nuclear Commerce, 1979 Sept. 11
Organization of American States Conference on the Utilization of Small and Medium Size Power Reactors in Latin America, 1980 May 12-15
Great Britain. Reports, 1977-1979
India. Relates to the export of fuel and components for the Tarapur reactor
1976 Jan.-1978 April
1978 May-1979 Oct.
1980 Jan.-June
Soviet Union. DOE "Report of the Visit of the U.S.-U.S.S.R. Coordinating Committee on Scientific and Technical Cooperation in the Field of Thermal Power Plant Heat Rejection Systems to the Union of Soviet Socialist Republics," (DOE/ET-0076) 1978 Nov.
West Germany. Relates to the proposed export of reactor components in the construction of a new reactor, 1976 July-1978 Jan.
NUCLEAR REACTOR OPERATION, SAFETY AND RESEARCH, ca. 1967-1980
Emergency Planning
1975 Dec.-1979 June
Includes comments on an NRC/EPA Task Force report (NUREG-0396), 1979 July-Dec. 1979 Sept.
Includes materials relating to an organizational discussion, 1979 Dec.-1980 May. 1980 Jan. 8
American Physical Society Study Group on Nuclear Fuel Cycles and Waste Management report, 1977 March-Oct.
Information and communications systems. Includes a report by the Mitre Corporation, "Communications and Control to Support Incident Management", 1977 Nov.-1979 Dec.
Inspection and enforcement. Primarily policy issues
Burden of proof in enforcement proceedings, 1976 Oct.-1980 May
Civil penalties
1974 Dec.-1979 April
1979 May-1980 June
Operators, 1979 Feb.-Nov.
General, 1979 April-Nov.
Printed reports (NUREG/CR-0147, NUREG/CR-0565, NUREG/CR-0793, NUREG-0577), 1978 June-1979 Oct.
Anticipated Transient without Scram (ATWS), 1979 Sept.-1980 Feb.
Emergency Core Cooling System (ECCS). Report of Advisory Task Force on Power Reactor Emergency Cooling, ca. 1967
Risk assessment
General. Relates largely to the progress of the Risk Assessment Review Group
Final report (Lewis Report, NUREG/CR-0400), 1975 Oct.-1979 May. 1978 Sept.
1979 July-1980 Feb.
Lewis Study. Primarily reaction to and analysis of the Lewis Report
1978 Sept.-1979 Feb.
1979 Feb.-July
Radiation exposure (including occupational exposure), Includes reports by the National Research Council, "Considerations of Health Benefit-Cost Analysis for Activities Involving Ionizing Radiation Exposure and Alternatives," "Occupational Radiation Exposure at Light Water Cooled Power Reactors," (NUREG-0482), and Massachusetts PIRG, "Nuclear Power Plants: Unsafe for Workers," 1977 Feb.-1979 Sept. 1977; 1979 May; 1979 Aug.
1976 Jan.-1977 Dec.
1978 Jan.-1980 Feb.
1980 Feb.-April
Specific reactor sites
Clinch River (Tennessee), 1975 April-1978 Aug.
North Anna (Virginia). Testimony on licensing (NUREG-0370), 1977 Oct.
General. Reports, 1976
Anti-Terrorism Act (S. 2236), 1977 Oct.-1978 Sept.
Articles, 1979 April-Aug.
Clippings, Predominantly relating to the venting of krypton-85 from the TMI-2 reactor 1979 April-1980 June.
Press releases
General, Includes statements by President Jimmy Carter and others, relating to the accident and the subsequent Kemeny Commission investigation 1979 March-1980 May.
Associated Press and United Press International, 1979 March-Oct.
Telephone transcripts. Incident Response Center
General. Miscellaneous sheets to be interfiled with transcripts which are not in this collection
Day 5 Channel 19 (April 1, 1979),
Electric Power Research Institute (EPRI), Nuclear Safety Analysis Center (NSAC), "Analysis of Three Mile Island Unit 2 Accident," Report with indexed bibliography and memoranda comparing this report to NUREG-0600 1979 July-Oct.
Energy Department (DOE). Letters and an aerial radiological report, 1979 April-1980 Feb.
Illinois Commission on Atomic Energy. Report, letter, commission review material, 1979 Oct.-Dec.
Institute of Electrical and Electronics Engineers, Inc. Serial issue and letters, 1979 Nov.
NRC Special Inquiry Group (Rogovin Commission). This was an independent study commissioned by the NRC and prepared under the direction of the law firm of Rogovin, Stern and Huge
General. Primarily progress reports and materials related to NRC review of the final report; includes responses to letters from Reps. Toby Moffett and Morris Udall
1979 April-1980 Feb.
1980 March-May
Depositions by Mr. Kennedy, 1979 Oct. 2
Report, (draft) 1980 Jan. 24
Parts 1-2
Part 3
Pennsylvania, State of. Governor's Commission on Three Mile Island. Report, memorandum and letters, 1979-1980
President's Commission on the Accident (Kemeny Commission)
1979 April-July
1979 July-Oct.
Ahearne, John F. (NRC Commissioner), Aug. 29
Bradford, Peter A. (NRC Commissioner), Sept. 10
Denton, Harold (Director, NRC Office of Nuclear Reactor Regulation), May 31
Gallina, Charles O. (NRC Investigation Specialist), Aug. 2 and Aug. 16
Gilinsky, Victor (NRC Commissioner), Sept. 8
Hendrie, Joseph M. (NRC Chairman), Sept. 7
Kennedy, Richard T. (NRC Commissioner)
General. Background material, including annotated sequence of events and question lists
1979 June 1
1979 Aug. 22
1979 Sept. 5
Thornburgh, Richard (Gov. of Pennsylvania), Aug. 21
Hearing transcripts
1979 April 25-May 17
1979 May 18-May 31
1979 June 1-Aug. 22
(highlighted copy) 1979 Aug. 22 -Aug. 23
General. Background and NRC report review materials
Includes "NRC Views and Analysis of the Recommendations of the President's Commission on the Accident at Three Mile Island" 1979 Oct.-Nov.
1979 Nov.-Dec.
Articles, 1979 Oct.-Nov.
Final Report and Supplemental Views. Includes index to staff reports
Staff reports
Office of the General Counsel, "The Nuclear Regulatory Commission"
Technical Assessment Task Force
"Summary Sequence of Events"
"Thermal Hydraulics"
"Core Damage"
"WASH-1400--Reactor Safety Study"
"Selection, Training, Qualification, and Licensing of Three Mile Island Reactor Operating Personnel"
"Pilot-Operated Relief Valve Design and Performance"
"Containment: Transport of Radioactivity from the TMI-2 Core to the Environs"
Public Health and Safety Task Force
"Radiation Health Effects"
"Public Health and Epidemiology"
Public's Right to Information Task Force. Summary of report only
TMI Ad Hoc Nuclear Oversight Committee (Edison Electrical Institute, American Public Power Association, and National Rural Electric Cooperative Association), Report and letters, 1980 March-May
U. S. Congress
General. Joint House-Senate hearings: Senate Committee on Environment and Public Works, Subcommittee on Nuclear Regulation, Gary Hart, Chairman until 1981, followed by Alan K. Simpson (hereafter referred to as the Hart/Simpson Committee); and House Committee on Interior and Insular Affairs, Subcommittee on Energy and the Environment, Morris Udall, Chairman (hereafter referred to as the Udall Committee), Transcript and NRC memorandum 1979 Oct. 31.
House of Representatives
1979 March-Oct.
Includes letter to Rep. Udall in response to inquiry, 1979 Nov.-1980 May. 1979 Nov.
Legislation (H.R. 2608; H.R. 3415/4174; H.R. 3476; H.R. 4096), 1979 April-Oct.
House Committee on Armed Services, Subcommittee on Military Installations and Facilities, Lucien N. Nedzi, Chairman. Memorandum, 1979 May 17
House Committee on Government Operations, Subcommittee on Energy and Natural Resources, Anthony Toby Moffett, Chairman. Includes a hearing summary, a letter from Rogovin, and a transcript of hearings relating to the Rogovin report, 1979 May 14, 1980 Feb. 12, 1980 Feb. 13
House Committee on Interior and Insular Affairs, Subcommittee on Energy and the Environment, (Udall Committee). Includes transcripts, memoranda, and Kennedy responses to questions
1979 May
1979 May-Sept.
House Committee on Interstate and Foreign Commerce, Subcommittee on Energy and Power, John Dingell, Chairman. Transcript, memoranda and notes, 1979 Nov.
House Committee on Science and Technology
Subcommittee on Energy Research and Production, Mike McCormack, Chairman. Memoranda and transcripts, 1979 May and Sept.
Subcommittee on Natural Resources and Environment, Jerome A. Ambro, Chairman. Memoranda, 1979 May
Correspondence, 1979 April-1980 Feb.
Legislation (S. 562), 1979 April-May
Senate Committee on Environment and Public Works, Subcommittee on Nuclear Regulation (Hart/Simpson Committee).
General. Letters from the NRC in response to Committee inquiries, 1979 Oct.-1980 Jan.
Hearing transcript, press releases, statement 1979 April 10.
Hearing transcript (morning session), statements, memoranda, and responses to questions 1979 April 23.
Hearing transcript, statements, and responses to questions 1979 April 30.
Kennedy deposition and letters 1979 Sept. 26.
Hearing transcripts, memoranda and statement 1979 Oct. 2-3.
Hearing transcripts, letter, memorandum 1979 Nov. 8-9.
Senate Committee on Government Operations, Subcommittee on Energy, Nuclear Proliferation and Government Processes, John Glenn, Chairman. Memoranda, transcripts, statements, and responses to questions, 1979 May 8-9
General. Pre-accident materials relating to the operating license, including an inspection report, 1978 Feb.-1980 May
Correspondence. Incoming. Includes letters and telegrams neither to nor from the NRC
1979 March-April
1979 April-1980 July
Correspondence. Outgoing, 1979 April-1980 Jan.
Meeting transcripts. Closed meetings
1979 March 30-31
1979 April 1-6
1979 April 9-Nov. 2
Meeting transcripts. Open meetings, 1979 April 4-May 17
Memoranda. Includes material relating to technical issues and the release of NRC meeting transcripts, 1979 March 29-Aug. 9
Preliminary Event Notification reports, 1979 April 1-Dec. 10
Press conferences, 1979 April 2-May 7
Press releases, 1979 April 11-1980 April 17
General. Weekly Status Reports, 1980 March 11-June 23
"Evaluation of Long-term Post Accident Core Cooling of Three Mile Island Unit 2" (NUREG-0557) 1979 April,
Accident sequence. Chronologies, memoranda, hearing transcript and statement, 1979 ca. March-May
Advisory Committee on Reactor Safeguards
General. Includes letter and report to the Rogovin Commission relating to ACRS recommendations, 1979 July 25
Hearing transcripts
General meetings, 1979
(Meeting #228) April 5
(Meeting #229) May 10
(Meeting #229, contd.) May 11-12
(Meeting #230) June 14
(Meeting #230, contd.) June 15
Special meetings, 1979 April 16-17
TMI Subcommittee meetings, 1979
April 4-May 1
May 9 and May 31
June 1-7
July 9-27
Aug. 8-Sept. 5
Babcock and Wilcox. Primarily post-TMI re-evaluation of generic design and sister plants
General. Other reactors
1979 April
1979 May
Davis Besse (Ohio), NOTE: A very similar accident occurred here yet was recognized and controlled 1976 Nov.-1979 July. 1977 Sept. 24,
Oconee (South Carolina), 1978 April-1979 June
C. Michelson, "Decay Heat Removal during a Very Small Breack LOCA for a B&W 205-Fuel-Assembly PWR" 1978 Jan.
"Staff Report on the Generic Assessment of Feedwater Transients in Pressurized Water Reactors Designed by the B&W Company" (NUREG-0560) 1979 May,
Corrective actions. Consists of TMI Lessons Learned Task Force recommendations and the subsequent development of an Action Plan for more general reactor regulation reform
Includes a report entitled "TMI Lessons Learned Task Force Status Report and Short-term Recommendations" (NUREG-0578), and a transcript sent to the NRC by the President's Commission for licensing review purposes, 1979 April-Sept. July; Aug. 23
Includes a memorandum with a transcript of a briefing by Harold Denton on the conclusions of the task force, a draft report entitled "Report to the Director, Office of Inspection and Enforcement on Lessons Learned from Three Mile Island by Special Review Group, OIE" (NUREG-0616), a final report entitled, "TMI-2 Lessons Learned Final Report", Oct.; a report entitled "Supplement to Staff Position on Need to Consider Class 9 Events," which relates to a general re-evaluation of major accident factors, including appendices on the NRC Action Plan, siting and design, emergency preparedness and radiation effects, 1979 Sept.-1980 May. 1979 Sept. 6; Oct. 10; 1980 March
Decontamination and clean-up of the TMI-2 reactor
1979 April-Dec.
Includes materials relating to public meetings held in Pennsylvania, 1980 Jan.-June. March 19 and 21
Economic effects
Extraordinary Nuclear Occurrence (ENO). Relates to the discussion concerning application of this designation to the TMI accident, thus qualifying under the Price-Andersen Act to provide payment for any resulting claims
Financial qualification review, 1980 Feb.-March
Emergency response procedures
Emergency planning, 1979 April-Sept.
Evacuation plans, 1979 April
Interagency Radiological Assistance Program (IRAP), 1979 April
Environmental effects. Primarily a report (NUREG-0596), 1979 Oct.-1980 April
General Public Utilities/Metropolitan Edison. Relates primarily to issues of management competence and the restart of the undamaged TMI-1 reactor, Includes public meeting, 1979 June-1980 March. 1980 Jan. 9
Includes an interim report submitted by Met. Ed. with cover memorandum and a Safety Evaluation order modifying operating license 1979 June-1980 Jan. dated Aug. 9; ca. Sept.
1980 Jan.-March
International reactions, 1979 April-1980 Feb.
Investigation and enforcement
General, Includes some material relating to allegations by Harold W. Hartman, Jr. 1979 March-1980 May.
"Investigation into the March 28, 1979 Three Mile Island Accident by Office of Inspection and Enforcement" (NUREG-0600)
Legal issues. Relates largely to records management and FOIA requests, 1979 April-1980 May
Radiation health effects
1979 April-May
1979 June-1980 April
Social and psychological effects, Includes a report entitled, "The Social and Economic Effects of the Accident at Three Mile Island" (NUREG/CR-1215) 1979 July-1980 May.
Technical systems
General. Other reactors (non-Babcock & Wilcox), 1979 April
Hydrogen bubble, Includes a report on hydrogen/oxygen generation rate during the accident, 1979 June-Sept. 1979 June
In-core thermocouples, 1979 Sept.-Nov.
Instrumentation, 1979 April-Dec.
Oak Ridge Laboratories technical support, 1979 July-Sept.
Atomic Industrial Forum, Inc. (AIF)
General, Letters, memoranda, notes, reports on licensing problems, and a transcript of a meeting with the NRC 1976 Oct.-1979 March.
Conference reports, ca. 1976-1980
Economics of nuclear energy
General, Memoranda, reports, and hearing testimony 1977 Aug.-1979 Sept.
Anti-trust review process. Memoranda, reports, and letters, 1977 Feb.-1979 Sept.
Energy policy and projections. Primarily speeches, reports and printed articles, Includes a survey report by Louis Harris & Associates, Inc., 1974 Nov.-1980 April. 1978 Dec.
Solar studies. Letters relating to a proposed study, 1978 April
1 phonotape (reel-to-reel) of a speech given in Madrid by Richard Kennedy, 1979 Nov. 5
1 cassette of a song by Bea Godfney, "God Bless Solar Energy"
See photo card catalog for description
Two videocassettes made during a trip to Korea in 1978 March: an interview with Richard Kennedy entitled "Nuclear Energy and Nonproliferation", and a speech by Richard Kennedy entitled "United States Nonproliferation Policy"
General. Includes miscellaneous material relating to the restriction of these documents
Adjudicatory items relating to: 1) restricted data procedures; 2) certiorari system for the Commission; 3) use of cameras during NRC licensing hearings; 4) SECY-A-75-24; 5) reactor site criteria. Reports and memoranda 1975 March-1976 August.
3) Returned to collection as per NRC Public Documents print-out
4) Expurgated copy returned to collection as per NRC letter 1987 July 30
5) Original returned to collection as per NRC letter 1987 July 30
Review of ALAB-268, Southern California Edison Co., San Onofre. Policy report 1975 May 9.
Clinch River Breeder Reactor (SECY A-76-45 and ALAB-330). Report prepared for Commissioner Kennedy by Richard Stratford 1975 May 25.
Miscellaneous contracts of interest. Note ca. 1975 June-July.
Signing of NRC/FMI arrangement for nuclear facilities safety cooperation. Summary telex (?) message relating to IAEA meeting in Vienna 1975 Sept. 4.
Opinion on petition for intervention and hearing on Tarapur, India export license (SECY-A-76-40). Memorandum/report from Peter Strauss, General Counsel 1976 May 6.
Memorandum from Commissioner Kennedy to Ken Chapman relating to safeguards 1976 May 16.
Summary information on FBI conference re: Bicentennial weekend with letter from Director, Civil Aviation Security Service. Memorandum relating to possible terrorist activities 1976 June 19.
Commission review of NEPA issues presented by the Clinch River Breeder Reactor project. Memorandum/report from Peter L. Strauss, General Counsel 1976 June 28.
Export Reorganization Act (S. 1439): Next Steps. Memorandum from Ben Huberman for the Commission 1976 July 13.
Comments on the August 31 version of the Safeguards supplement. Memorandum from Commissioner Kennedy to Ben Huberman 1976 Sept. 10.
Comments on the draft DES Safeguards Supplement Cost Benefit Analysis. Memorandum from Commissioner Kennedy to Ben Huberman 1976 Sept. 22.
Export Licensing Review. Memorandum and draft report from James R. Shea to the Commission. Expurgated copy returned to collection as per NRC letter 1976 Nov. 5. 1987 July 30
Draft summary of Export Licensing Study. Memorandum and draft summary from James R. Shea to the Commission 1976 Nov. 10.
Draft Export Licensing Study: Next Steps. Memorandum and outline of proposed export licensing rule from Ben Huberman to the Commission 1976 Nov. 29.
"Nuclear Energy's Dilemma: Safely Disposing of High Level Radioactive Wastes". Partial draft GAO report previously attached to testimony by Clifford V. Smith before the Udall Committee 1977 ca. May 16.
Additional guidance--Policy on Alternative Site Evaluations (SECY-77-433). Memorandum from Samuel J. Chilk (Secretary) to Lee V. Gossick (Executive Director for Operations) with attached policy statement. Expurgated copy returned to collection as per NRC letter of 1987 July 30 1977 Nov. 3.
Report on discussions with foreign officials during trip to Far East, Report with cover memorandum from Joseph D. Lafleur, Jr. (Office of International Programs) to Commissioner Kennedy 1978 April 21. 1978 March 9-24.
NRC staff comments on proposed export of special nuclear materials to India for the Tarapur Atomic Power Station. Legal document 1979 Jan. 11.
N. C. Menon report on NRC consideration of Tarapur fuel license. State Department dispatch 1979 June 16.
State Department response to questions on proposed export to India, XSNM-1379. Information report 1979 July 12.
Westinghouse FOIA request. Memorandum from Commissioner Kennedy for Carlton R. Stoiber (Assistant General Counsel) with attachments of earlier materials 1979 July 23.
Staff requirements--affirmation session 79-29. Memorandum with attachments from Samuel Chilk to Lee V. Gossick and Leonard Bickwit, Jr. (General Counsel) 1979 Oct. 12.
Staff organization. Memorandum from Commissioner Kennedy to the Commission 1979 Dec. 7.
Draft GAO letter report to Senators Hart and Simpson on NRC's actions to implement TMI recommendations. Memorandum from James J. Cummings (Director, Office of Inspector and Auditor) to William J. Dircks (Executive Director for Operations). Original returned to collection as per NRC letter 1980 May 9. 1987 July 30
Three Mile Island transcripts
(two versions) 1979 March 30
1979 March 31
1979 April 16
(with memorandum). Partial expurgated copy returned to the collection as per NRC letter 1979 April 17 1987 July 30
1979 April 18
(two versions) 1979 April 23
(with memorandum). Partial expurgated copy returned to the collection as per NRC letter 1979 April 24 1987 July 30
1979 May 11
1979 June 13
Records released in 2010, 1976
Records release in 2017, 1975-2017


text:
I write a drop down list populated from values of another model
<?php echo $form->dropDownList($model,'idcausale_uscita', CHtml::listData(CausaleUscita::model()->findAll(), 'idcausale_uscita', 'uscita')); ?>
Is it possible to change the value of another textfield, in the same form, accordling the value of dropdownlist chosen? I can't figure out... maybe with onchange event?
$model,'idcausale_uscita' is the first model and refer to current form. The second 'idcausale_uscita' (not a good idea give it the same name...), 'uscita' are the values populating dropdownlist of another model.
The table with data to select are very simple:
id – description – nvalue
0 – aaa – 10
1 – bbb – 12
2 – ccc – 5
… and so on
I need to select from description field (and this work), and put in another textfield the corrisponding "nvalue". And this I can't figure out.
Thank you in advance


text:
Dior, Martin Margiela, Hussein Chalayan (OnStyle Notebook)
I like the corset lacing on the suits at Christian Dior today, but the problem with them is substantial. There's a huge disconnect between the fashion industry and the consumers it caters to. To Fashion, expertly tailored suits with corset lacing are a fun wink-wink take on suiting. Well done, Raf Simons!
But for the legions of women who aspire to dually wear Dior and climb the ranks at Goldman Sachs (et al.), those suits represent little more than a career dead-end. In the uptight world of Wall Street, corset lacing isn't the least bit nuanced. What seems like a sexy wink on the runway could be a career killer in the office. Women on Wall Street (and corporate America) are not seeking to display their bedroom sides at the office, and designers needs to better understand the lives of their clients. The corset lacing was an excellent design device, but used with such a heavy hand in a collection so aimed at the excellent-tailored-suit-set, the device fell flat.
But here's what to take from Dior: quilted-puffer looks are cool; brash colors are cooler, so mix pale pink and primary green — rubber soled heels are coolest of all; and you haven't been chic if you haven't donned a quilted puffer skirt.


text:
|Gordo, Robusto, Toro
|More Details
Introducing OSA Sol cigars, CAO's most unique creation to date.
The secret behind CAO OSA Sol is the wrapper. This exquisite leaf is grown in Olancho, San Agustin, a fertile valley of Honduras surrounded by tree covered mountains. This field is hugged by a crystal clear river, feeding the sun-nurtured tobaccos with pure spring waters and producing a uniquely robust and earth wrapper leaf. A sun-grown leaf, hence CAO OSA Sol.
The CAO OSA Sol cigar marks the first use of this rare, proprietary tobacco variety. A glorious presentation to see and burn, each cigar contains a flavorful OSA sun-grown wrapper chock full of Nicaraguan and Honduran long-fillers inside a hearty Connecticut Broadleaf binder. Medium in body, CAO OSA Sol gushes with rustic tobacco flavors enhanced by earthy undertones, subtle spices, and a touch of leather. Aromatic is an understatement, as each OSA Sol fills the air above with thick clouds of smoke and a lovely, rich, earthy scent.
I bought a sampler pack of CAO cigars and loved the OSA Sol from first draw. Mellow, smooth and an awesome burn. I love the 58 ring and can sit outside for 2 hours and get a great smoke all the way through. Never bitter. Never too hot. Right on the money.
This was one of the deals they put in front of my face when I was putting my order. I gave them a closer look, and for the price of the 5 pack and getting free shipping on my order I found out I did the smart thing and took the offer. I have been a big fan of CAO, and these are another of their blends that leave you wanting more when you burn down to the nub. Great mid-full flavor and thick clouds of smoke. I recommend trying this one at least once. Especially if they give you a deal like they did me. A no brainer!
Are you freakin kidding me? You offer this cigar is a free throw in if I order a bunch of other cigars? This is one of the best cigars I've smoked in a long time. Ci nation you rock and I will be with you guys to the very end of time.
Had this cigar twice and it didn't do much for me. 3rd time was a charm. It definitely has a unique flavor, hence why it took me 3 before I could appreciate this smoke. If you haven't tried already, its worth a shot.... Or 3 lol
Another winner for CAO and in my mind the best of a very fine line. Ordering more Gordos 5-packs as these are the only ones available at present.
At my local cigar shop, I always like to try the newer cigars they are putting out. I saw the CAO on the band so I figured it can't be too bad. I tried the 6.5 x 58 and it was one of the best medium strength cigars I have ever tried. The draw was a little tight at the start, but got better in a hurry. It had a great ash, burned straight, the finish was as good as the start. It was one of those cigars ya hate to see end. All in all out of ten, I'd give it a nine. C.I. has done it better with the price, so I will be buying it soon.
Love them!
Very well constructed cigar. Lots of spice to it. All around a great cigar!
I usually go with a good medium-full body smoke, but with summer coming in I have noticed I quite enjoy the lighter side of the burn. The CAO OSA SOL is a great spring to summer cigar. It has light characteristics of ceder, earth, pepper and tobacco that are continually changing throughout the burn. Once I hit 2/3 mark a subtle hint of sweetness arose to bring a light and calm crescendo. The construction of this stick is superb and 2nd to none. With a beautiful wrapper that isn't too dry or oily. The packaging is beautiful and gives perfect homage to what you will experience. A well balanced journey that is light, smooth, and allows you relax during a warm day and hard work. I highly recommend this cigar during this or any time of the year. A calm and cool burn you are sure to enjoy over and over again.
WOW...great burn over 2 hours. Notes of chocolate and coffee right to the finger burning nub
Wow !! Talk about an awesome flavor profile......this on has it !! I still can't believe the modest price for this incredible stick. Without a doubt, a must try smoke, I will smoke em' to death!!
Wow - talk about dense smoke. Mosquitos didnt even land on me while I was smoking this. Perfect draw and pretty good burn. Still trying to figure out what I was tasting. But all around a very good smoke.
These new OSA Sol ( #54 ) cigars are really Tasty ! They burn darn straight and have a unique taste/aroma thats quite satisfying. They're at the top end of what I'm typically willing to pay for cigars, but for a weekly TREAT - - - - - I'll keep buying them !! !!
Excellent cigar! Burned perfectly, delicious peppery spicy flavor and a lot of kick and strength.
These were rated top 25 in Cigar Journal, so I had to try them. A good solid smoke. Well balanced from beginning to end. Mild enough for the light hearted and satisfying for the full bodied smoker. A good start to the day. I would buy more.
Honestly, I tasted tobacco leaf and citrus. When a local shop had a CAO OSA event last week, there were enough people smoking the OSA to really smell the smoke from it, and it was good. I thought it was a medium stick, but one to maybe let rest for awhile.
Great cigar. A must try.
Smoked one of these last night. It was a wonderful cigar. Medium throughout with a smooth draw and a little bit of spicy flavor. I'd recommend this to smokers of any palette, you won't be disappointed...


text:
-You are facing Cafe Argana.
-Continue straight on to the left of the cafe - you will reach a small square called Bab Fteuh. There is a pharmacy in front of you.
-On the left is a pretty, small archway - walk through it and continue straight on - you are in a souq street.
- You will see in front of you a boutique called BAZAAR CHICHAOUA. Turn left.
- This is Rue Ksour - there will be a beautiful petal shaped archway in front of you. Continue straight on - the road is straight.
- About 2 minutes down here the road becomes windier and a little more narrow but don't be put off - just follow it.
- You will see a white and red sign on your right for 'KSAR ESSAOUSSAN' - keep following the street and you will see on your left on a corner a hotel called 'MK'.
Take the first small street on the left - this is DERB SABAI.
Knock on No. 13. Welcome to Waka Waka's...


text:
Search Jim Cramer's "Mad Money" trading recommendations using our exclusive "Mad Money" Stock Screener.
NEW YORK ( TheStreet) -- Here are some of the hot stocks Jim Cramer talked about on Wednesday's "Mad Money" on CNBC: HSH data by YCharts
Hillshire Brands ( HSH): Cramer said this breakup story hasn't panned out yet, but still remains a terrific investment.
Whole Foods Markets ( WFM): Cramer interviewed Whole Foods' co-CEO and said the company remains a terrific story.
Oracle ( ORCL): Cramer praised Oracle's most recent quarterly results and gave a "tip of the hat" for a job well done. To read a full recap of "Mad Money" on CNBC, click here. To sign up for Jim Cramer's free Booyah! newsletter with all of his latest articles and videos please click here. To watch replays of Cramer's video segments, visit the Mad Money page on CNBC. -- Written by Scott Rutt in Washington, D.C. To email Scott about this article, click here: Scott Rutt Follow Scott on Twitter @ScottRutt or get updates on Facebook, ScottRuttDC


text: Which vegetables do you think have charisma? In Tuesday night's television programme Radar Across The Pacific, comedian Te Radar was given "fiddle fern" to eat. He seemed to be impressed by it, describing it as having charisma. Te Radar was eating the young, unfurling fronds of a fern. These still-coiled fronds are variously called croziers… Read more »


text:
Resident's dream becomes reality after rebuilding 1970 AAR Barracuda
February 16, 2013
I had a dream ... About five years ago, I acquired a 1970 AAR Barracuda which I had long sought. However, much to my dismay, it turned out to be a mechanical, as well as a bodily, disaster....
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text:
Topic: Exhibitions
The pomp and pageantry of imperial coronations were documented and promoted in lavish albums that became almost as important as the extravagant events themselves. To mark the 400th anniversary of the founding of the Romanov dynasty in 1613, Hillwood Museum present a special exhibition of the albums created over the course of the family's reign.
Over the course of their reign, the Romanovs celebrated coronations with elaborate celebrations, which included their grand entry into Moscow, fireworks, and the ruler symbolically crowning himself. Fully illustrating the grand celebration and all its details, sumptuous albums were created to spread word of the event and all its symbolism.
In the year of the 400th anniversary of the crowning of the first Romanov tsar, the most complete presentation ever of these coronation albums, including two copies of the monumental Alexander II album of 1856 with one in its original binding, will be on display at Hillwood. Beginning with Catherine I, Peter the Great's wife, there were a total of seven coronation albums created by the Russian tsars—each published within a few years of the event. The exhibition will feature five albums from Hillwood's collection, plus supplemental material on loan from the New York Public Library, the Library of Congress, and the University of Texas at Austin, bringing together six of the seven coronation albums together for the first time in an exhibition in the United States.
With objects from Hillwood's Russian decorative arts and paintings collection—the most comprehensive one outside of Russia—an exploration of the Romanovs' lasting influence on Russian art and culture will add to the understanding of their reign and the coronation albums. Coronation books from other countries such as the Holy Roman Empire will illustrate the bearing that the West had on the Romanovs and the dynamic relationship of the cultures.
The Albums
These lavishly produced albums are art objects in their own right with eye-catching bindings and illustrations—primarily engravings and chromolithographs—by the best artists and craftsmen of their day. Published in small print runs they were presented to other courts, diplomats, family members, and important guests by the Tsar. Because they were not widely available beyond these circles, a public collection like Hillwood's, with five of the seven albums, is rare. Featuring views of coronation processions and ceremonies; images of official dinners, balls, and imperial regalia; exact copies of dinner menus and more, the albums offer a fascinating portrait of the dynasty, and what each ruler wanted us to see and remember for posterity.
Pageant of the Tsars will run from February 16th to June 8th, 2013 at the Hillwood Museum in Washington, D.C.
© Hillwood Museum. 17 February, 2013
Updated: Monday, 18 February 2013 8:01 AM EST
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text:
Kind of like THE Ohio State.... proper English and all.
I know I jumped the gun but i wanted to get my two cents in and see what you all think.
Most partisans are downplaying the debates as their guy isnt the best to kinda of hedge the later spin.
However each of you have hopefully had a chance to see both the President and Governor Romney argue a point. Both have shown a tendency to get their feathers ruffled.
So this is the one day prior prediction and then we can run through the results tomorrow night?
Anyone Game?
I will go first. I think the President actually is fairly relaxed and confident in his ideology about where he wants to take the nation so I will go ahead and say that Romney will get a little edgy first. However, i think after all is said and done it will merely solidify the opinions each side have about their candidate.
So who snaps first? Who looks uncomfortable ?