Just wanted to add my thanks to Lisa Rigoux-Hoppe, Harry Mendryk and Steve Saffel for their help manning the Museum’s table.
Special additional thanks to Harry for donating two copies of “The Best of Simon & Kirby”, signed by Joe Simon, Harry and Steve, that we raffled off at the end of each day.
Thanks to Greg Theakston for stopping by on Sunday with new additions to the Museum’s “bookstore”. Especially nice were the almost 20 copies of the second volume of Ferran Delgado’s/Glenat’s Spanish Sky Masters book. Greg spent some time manning the table as well.
Thanks to Harry Mendryk, Steve Saffel, Mike Cecchini, Allan Haverholm, Charles David Viera, Ken Wong, Jeffery Lazell, Jeremy Povolny, Jeffrey Lazell, Arlen Schumer, Gabriel Perez, Franklin Stockton, Nicholas Cacciola, and Charles Hatfield, who either newly joined the museum or renewed their membership at the show. This was the first time the Museum was in membership mode; I brought membership premiums (posters, the Street Code mini, and even some of TwoMorrows’ Deities Portfolio) and thanks to Paypal, was able to take credit cards.
Thanks to Lois Dilivio and zipcar for the help with the transportation between Hoboken and the Armory.
Norris Burroughs was born in New York City. He began attempting to draw comics at age four, when he realized how much he enjoyed putting pictures in sequence in order to tell a story. Burroughs discovered Kirby when reading “Taboo, the Thing from the Murky Swamp” in Strange Tales #75. He then became fascinated with the continuity of Kirby’s fight scenes in Rawhide Kid. Picking up the first issue of the Hulk and subsequently the character’s appearance in Fantastic Four #12 clinched it. He was evermore a Kirby fanatic.
Burroughs is the illustrator of several book covers, including The Phillip K. Dick anthology. Most recently, he has written and drawn Voodoo Macbeth, published by Engine Comics.
As I said in my previous entry regarding the MoCCA Festival last weekend, it’s great to see artists at their tables with their comics, mini-comics, postcards and stickers. Not only did I fire up some Jack Kirby stickers to offer at the table, but I got the OK from Lisa Kirby to print a thirty mini-comic edition of her dad’s only solo-produced autobiographical story, “Street Code.”
In 1983, Jack Kirby was commissioned to produce an autobiographical story by Richard Kyle, an instrumental figure in comics in the United States. Richard published “Graphic Story World”, which is called a “semi-pro fanzine” in various places on the web. He and a partner also operated Wonderworld Books in Long Beach, California. (At some point Graphic Story World’s name was changed to Wonderworld.)
The point of the commission was for it not only to be an autobiographical tale, but it would also be reproduced directly from Kirby’s pencil art — not inked as it had always been. But, Kirby’s script was professionally lettered in ink on overlays.
In 1990, Richard published Street Code in the second issue of Argosy, with lettering by Bill Spicer.
In 2000, Street Code was presented in Jon B. Cooke’s and John Morrow’s book, Streetwise, with lettering by Ken Bruzenak.
In 2008, Mark Evanier included Street Code in his “Kirby, King of Comics” book, with Spicer’s Argosy lettering.
Within the last year or so, Kirby scholar Greg Theakston has gifted many of his Kirby papers to the Kirby Museum. Much of it still needs to be cataloged, but while browsing through a looseleaf notebook filled with photocopies of Kirby art, I discovered Street Code. What caught my attention was that these photocopies included Kirby’s own pencilled-in lettering.
As Street Code is a favorite of many, myself included, I thought this would be a great choice for a mini-comic to offer at the MoCCA festival. I’m sure only a handful of people have seen Kirby’s hand lettering. It’s rough, but authentic.
It’s a ten page story, so it easily fit into a twelve page booklet — leaving me to only have to produce a front and back cover. Again, James Romberger was a big help.
Again with the fund raising! The Museum offered Street Code as a premium for the $40 annual membership, just like the first level posters. We also offered it as a $10 add-on to memberships. Maybe I’ll get it hooked up into our Paypal membership form.
In 2009, the Kirby Museum published Street Code (all pencil version) in a thirty mini-comic edition, with Kirby’s own lettering.
The great thing about the MoCCA Festival is seeing comicbook artists at their tables with their comics, mini-comics, postcards and stickers. The publishers’ tables offer wonderful things, but the MoCCA Festival is really about the creators.
When I learned that the Kirby Museum would have a table at the Festival (I registered late and was wait-listed), I knew I needed Jack Kirby stickers. But what kind of stickers? After some consultation with Museum member James Romberger, I picked two images. The first is Kirby’s late 1960s/early 1970s “logo signature” as was used on the Marvelmania posters he produced around that time.
Feeling very much in the MoCCA Festival’s D.I.Y. head, I ordered some 2″ white weatherproof vinyl labels and some 1 1/2″ orange fluorescent labels, and got to inkjet printing on my HP Photosmart 8750. I just had to make some fluorescent stickers, as I love the Third Eye posters from the early 1970s. (Really should have an exhibit of those posters here.)
The second image was, well, since the Festival was in New York City, what better choice than the dramatic “NY” figure from the series of football-styled images that John Morrow included on the back of the recent Kirby Collector? I cut and pasted the KIRBY lettering from the Marvel poster that the Museum offers as a premium, and then printed out in two sizes on clear mailing labels.
Right. Now how to make the labels a fund raising tool? The costs entailed attending the Festival add up! Got it. I figured it’d be fun to have a Mother Box (a device having various configurations in Kirby’s “Fourth World” stories) with a piggy-bank-like slot on the top and make a sign with “suggested donations” listed. (I had to include “Kirby is Here!” and “Don’t ask, just donate!” on the sign. ;^) )
Consulting with my crafty wife Lisa, we made the proportions of this Mother Box similar to Vykin’s from the Forever People. I didn’t want it to just be a flat red with a yellow disk on one side like Vykin’s, though. So, I dove into the Museum’s Original Art Digital Archive, and printed out some amazing Kirby art I’d scanned last July at the San Diego convention. Lisa cut, wrapped and taped it around the box.Best moment was when Scott Eder stopped by the table, recognized the art and complimented me on the color accuracy of the printing.
As far as I’m concerned the labels were great little fund raisers. Every so often, we at the table would say, “Ping! Ping! Ping!” when someone dropped a bill (or bills!) into the Mother Box’s slot. (Someone from Vermont even dropped a “Where’s George” single).
Next: the Kirby Museum’s MoCCA Festival mini-comic.
I’ll provide some more details about the MoCCA Festival this past weekend, but in the meantime, check out my interview with new Museum member (and “The Best of Simon & Kirby” raffle winner) Gabriel Perez from Strangers With Comics. – Thanks, Gabe!
London-based illustrator Kam is one of the most successfully diverse graphic artists working today. A constant re-invention of his aesthetic means his output is consistently exciting, cementing himself as a leading figure in the industry for many years to come. A list of collaborations and clients as long as your arm include The Chemical Brothers, Gnarls Barkley, Burberry, Adidas, the London Design Museum and Royal Mail.
The November print expires in 22 days from posting of this message
Kam is generously donating a percentage of his sales to the Jack Kirby Museum & Research Center.
We’d hoped to have an upgrade to our web site all ready for a big virtual ribbon-cutting ceremony today, Jack Kirby’s 91st birthday, but the darn t-s wouldn’t cross and i-s wouldn’t dot. Best we can do is announce a few things.
As Rand announced at the Jack Kirby Tribute panel at Comic Con International: San Diego, the Kirby Museum is starting fund raising and pre-production on its feature-length Jack Kirby documentary with Jon B. Cooke and Andrew D. Cooke. You may know the Cooke brothers by their work as Montilla Pictures on the wonderful “Will Eisner: Portrait of a Sequential Artist“, and Jon from his exceptional Comic Book Artist magazine. As a non-profit 501(c)(3) corporation, the Museum is going to be funding the production through fund raising. In fact, we are seeding the project with funds from our members’ Annual Dues. No doubt, this documentary will be a powerful tool in getting the word out about Kirby and his work, as well as a valuable resource to aid in funding of further Museum projects. Please consider lending your support to this project.
Also through the generosity of our members, and mentioned at the CCI:SD Kirby Tribute panel, the Museum has started a small original art acquisition program. These pieces will be the foundation of our Traveling Retrospective, as well as being helpful resources when we are queried by our peer educational, cultural and literary organizations looking for Kirby assets.
Kirby Kinetics and Web Site
Once we’ve finished moving the core of our web site over to the open-source Drupal Content Management System, we’re going to be premiering a new blog titled “Kirby Kinetics“, written by Norris Burroughs, which will focus on analyses Kirby’s art. Norris was inspired by Greg Theakston’s article “That Old Jack Magic” in Amazing Heroes 100 from 1986, which Greg has given permission to post, as well.
Also in the queue are an article on the Boys Brotherhood Republic by Stan Taylor, videos from San Diego and audio files from Jack Kirby Quarterly’s Chrissie Harper.
The Museum would like to thank Dez Skinn and Chrissie Harper, publisher and editor, respectively, of Jack Kirby Quarterly 15, for committing to donate a percentage of their revenue to the Museum.