More of an epilogue than anything. A message to the year 3000.
Actually, I screwed up -- last night's was part 6; this is part 5. Order doesn't seem to particularly matter on these two, though, except for the last bit on artistic freedom and censorship, which leads into the "candy-coated dictatorship" bit I posted last night.
Jimi Hendrix and Buddy Miles as houseguests, the King and RFK assassinations, conspiracies, UFO's, the moon landing, Woodstock, the sexual revolution, and what do you want him to say about artistic freedom?
Zappa on America as a candy-coated dictatorship.
The LA freak scene, Einstein, and the Mothers.
He describes how he thinks his campaign would work -- and basically describes Nader's from 1996. Sometimes I can't decide if Frank is a bitter cynic or a naïve Pollyanna.
Then again, Frank gives a much more entertaining interview than Ralph.
And then we're on into Kennedy (I wonder what Frank would have thought of Clinton?), Nixon (I can guess what he would have thought of Bush), Johnson, and just a little bit of Carter, the Beatles, the Stones, and Lenny Bruce.
Continuing thoughts on McCarthy, and then a right turn to Elvis. And from there to the origins of Elvis's music in R&B and "race music" and the pernicious effects of good old-fashioned 1950's-vintage racism. Then Duck and Cover and politics in general, and more later...
A late interview -- 1990; a few years before Zappa died. In this bit the interviewer asks him about early influences; Frank tells the oft-repeated story about phoning up Edgard Varèse on his fifteenth birthday. Then he moves on up through World War II, Eisenhower, and "that naughty old Joe McCarthy." Uploaded by TheNilesLeshProject.
I'd like to talk about Archie v Penders, because it fascinates the hell out of me. In fact, I've got enough to say about it that I'll be on the subject for most of the week, if not longer.
But I should probably get some disclosure out of the way first.
First of all, my feelings on creators' rights are pretty well known.
And second, I corresponded with Ken Penders for years in the mid-1990's and he was pretty cool to me.
It may be hard to remember in these days where I can just get into a political debate with Ethan van Sciver or ask Kurt Busiek about his unpublished Final Fantasy comics, but it wasn't so long ago that most people didn't have the Internet and it wasn't common for fans to connect directly, personally, and regularly with comics creators.
The first cartoonist who I ever knew to directly engage his fans online was Ken Penders. (Not the first person, and not even the first person who worked on Sonic the Hedgehog at Archie -- that honor goes to editor Paul Castiglia, who likewise was a class act -- but the first person who was actually writing, drawing, and inking the things.)
In those days, the main place where I participated in Sonic fandom was on a mailing list run by Ron Bauerle. And when I say "mailing list" I mean something less sophisticated than an automated majordomo system; I mean people E-Mailed Ron and he forwarded those E-Mails to a list of addresses, manually, with some edits and comments of his own.
Ken was kind, engaged, patient, and forthcoming. He took the credit or blame for ideas that were his, and he was entirely candid about decisions that were forced on him by Archie or Sega.
I always liked the guy, though I grant I often had a funny way of showing it. I was thirteen, fourteen years old, and behaved about like you expect an angry, entitled, teenage member of comic book fandom to behave. And Ken was always patient and polite with me (and others), even when I didn't earn it.
In my defense, there were times when he actively and transparently trolled the fans. The biggest thing that ever happened on Ron's mailing list was when one day Ken posted -- in a fake casual, "oh by the way" manner -- that he'd just written a script where he killed off Princess Sally.
He may not have deserved all the vitriol he got for that -- but he did very clearly and deliberately invite it.
(And while I remember being nastier than I should have been, I won't recant the substance of my criticism of the story -- if possible, my disdain for the "women in refrigerators" and "revolving door of death" tropes has only deepened in the intervening years. It was a terrible idea, a terrible execution, and, all right, at least the "Director's Cut" reissue of #50 shows that editorial meddling made the comic even worse than if Ken had done it the way he wanted to.)
But again, I always liked Ken -- he was a nice, friendly, forthright guy, who made time for his fans. Even when I didn't like the comics he was writing or drawing, I still liked him.
And, nontrivially, I also think he's a big part of why Archie's Sonic comic is still out there.
The mid-1990's were a weird time for Sonic fandom. The cartoon had ended, and the games were going through what would become the longest dry spell in their history.
Nobody expected, fifteen and twenty years ago, that Sonic the Hedgehog would still be running in 2013, zooming toward issue #250. (And that fact is essential to understanding the current legal disputes. It looks to me like Archie got sloppy with its paperwork, precisely because this was a licensed comic that they didn't think would last. But more on that tomorrow.)
Indeed, Ken didn't tell us at the time, but there was every possibility that the book was going to end with #50. I mean, given that the story arc was called Endgame, that should have been obvious, in hindsight.
But Ken, more than anybody else, is the guy who kept the book afloat. He's the one who took the wheel in the teens (#16?) and decided the book should depart from the slapstick roots of the Scott Shaw/Mike Gallagher/Dave Manak era and generally start to look more like the Saturday morning cartoon. He wrote more complex, character-based stories. That's how the comic attracted an audience outside its 8-to-12-year-old target, how it managed to keep its 8-to-12-year-old target, and generally the reason there's still a Sonic comic at all. Ken believed in the book, he took it seriously, he made it the best he could. It wasn't always great -- in fact, there were times it was downright lousy. But a Ken Penders story was still usually better than anything printed in the first 15 issues.
And look, I quit reading Sonic comics ages ago. People say Ian Flynn is great and I take them at their word. I definitely acknowledge the possibility that he's writing better comics than Ken ever was. I don't know.
But I am pretty confident that Ian Potto would never have gotten a job writing Sonic the Hedgehog if not for Ken Penders. Firstly, because there wouldn't have been a Sonic comic if Ken hadn't shepherded it through some of its most turbulent years, and secondly, because it was guys like Ken, Paul, and Karl Bollers who interacted directly with the fandom and created an environment where fans like Flynn and Dawn Best could actually make the step to pro.
So anyhow, that's my bias in all this. I like Ken Penders as a dude. I like a lot of what he did when he wrote and drew Sonic and Knuckles. I don't like a lot of what he did, too -- and while a lot of that's down to editorial meddling by Archie and Sega, some of it is indeed down to decisions made by Ken himself.
But that's not why I think he's right and should win the case against Archie -- indeed, when he first announced he was pursuing legal remedies I thought he must be crazy, and said so, rather rudely.
But as the facts have come out, I've found myself believing Ken isn't just morally in the right, he's legally in the right.
And that doesn't have anything to do with whether I, or anyone else, actually like him, as a person or as a writer or as an artist.
That's a point Sonic fanboys just can't seem to grasp in this case: whether or not you personally like Ken Penders's Sonic and Knuckles comics is completely irrelevant to the merits of his legal case.
I'm sure somebody's got this in better quality somewhere, but here's the one I ran across, courtesy of uploader qahtani.
"People are people and they are basically bad."
A little cynical for my tastes, but I must say I enjoy his commentary.
Uploaded by LightningStrat. He doesn't name the original source but it looks like the early '80's and those subtitles are German.