They were born in the early 1800s; listen to them

I’ve been watching a lot of YouTube videos lately – on my 55 inch tv, which makes it so much more pleasant.

I’m finding all sort of things. Yesterday, I came upon this video “Interviews With Elderly People Throughout the US,” filmed in 1929. Some of these folks were over 100 years old! Most were in their 80s and 90s. But listen to them – so full of life at 100!

Imagine, one guy says, “I was born in 1827, I graduated school in 1845 . . . ” 1827! 1845!

One man is 70 years old or so and he’s retiring from his job as a train conductor. You can see him jump off the train and speak to the camera. He tells about starting his career in the 1850s, now it’s 1929 and he is retiring. Another old lady is 103, I belive, she dances the waltz with a guy!

This is great, it’s worth a watch. There are other videos in this series too.

Here is more interviews with elderly people.
And here is Recollections of the Civil War

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‘Dunce” comic strip is in a class all its own

10 With Tom
10 questions in 10 minutes

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Jens K at work. (Photo by Agnese Zile)

jensJens K. Styve is the creator of Dunce, a delightful Norwegian comic strip he created in 2016. What attracts you first are the drawings, each strip is a work of art; add the comic writing and quality to that, and you have an award-winning comic strip. (photo by Nicolas Tourrenc).
TOM: Is Dunce you? Why the name Dunce for the title character?

JENS: Whenever I’ve done anything autobiographical, it’s been me drawn with that pointy Dunce-cap. I think it’s all about that voice in your head, the self-evaluating critic. The voice that, each time you do more or less anything, goes “You idiot, why did you do that? Why did you say that? Write that? Draw that? Look, now you’ve made a mess.” I think this voice is pure biology, every human seem to be their own worst critic. You should probably check with a biologist, but I assume it’s how we all made it this far. I guess my inner voice is also a sarcastic, satirical writer that can add some fiction and transform these expressions into comics. When I started doing a daily strip with the pointy-hat character, the title Dunce sort of gave itself.

TOM: What is Dunce’s name? He has a son, what about a wife, I don’t remember ever seeing her.

JENS: The main character’s name is Jens K, maybe with a tiny reference to another resentful literary character (Kafka’s Josef K.). The son is named Gustav, I haven’t really figured out yet if the characters should have other names in English, I guess it’s part of the concept that this is actually in the far north of Norway, far above the polar circle. Gustav obviously has (or at least has had) a mother, many readers ask about her, but that part of the story isn’t told (yet).

TOM: Your drawing style is beautiful, is it digital, do you use pen and ink?

JENS: In 2014, I came back from a 14 year long hiatus from comics. Actually I thought I had quit for good, with my steady job as a graphic designer. I did miss making comics, I guess what I missed most was working offline and analogue, with old fashioned tools like brushes, nibs, good paper and the meditative “flow” of drawing. So I returned. I decided to do a daily strip, just for myself. My days were packed, but I found that if I got up insanely early, I could sketch and ink a complete strip each day before going to work. These were self-published in small zines, and this eventually turned into my Dunce strip. The whole point then, was to do this without using any computers. After a year or so, my strip won several competitions and ended up running in Norwegian magazines and newspapers. After doing maybe 150 strips on paper, I bought an iPad Pro with an Apple Pencil, curious (and a bit skeptical) if these gadgets could recreate my analogue and “inky” style. One of the really good brush-makers for Procreate (Georg von Westphalen) came by and offered to make a brush pack based on my style. That did it, I switched to iPad.

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TOM: What does your studio/workspace look like?

JENS: Since I went full time comic artist in October 2017, I’ve been working at home. I have a separate room for work, but when I have the house for myself, I move around. My dog Brego (who is introduced in the strip, and often seems to be stealing the show) keeps me company, when I move to another place to draw, he finds another place to sleep. Kitchen is for writing, I have a good chair by the large window for sketching, and I do the inking in my office. All my nibs and brushes are there, in close vicinity, and although I do most work on the iPad now, I try to keep them active. Ink on the hands, and those random accidents that can’t be undone, is still what gives the best “flow”.

TOM: Dunce is run in newspapers in Norway and that area of the world. What is the schedule like is it run daily? How far ahead do you have to have the strips in?

JENS: It is running daily, and has been doing that more or less non stop since January 2017. That means I have to produce at least five new strips every week. There has been times (up to quite recently) when I’ve been so far behind that I handed in the next day’s strip at 12 every day. That is not at all recommended. I’ve now been able to build up a buffer of around four weeks. Also, I now try to make six or seven strips weekly, so that I can have a vacation one day, or even be able to get sick.

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TOM: I’ve read various quotes comparing your work to others but I don’t see it, I think you are totally unique. But who are your comic/cartoon influences?

JENS: My influences are pretty widespread, and they also change a lot. Some people mention Quentin Blake and Ralph Steadman, I admit those two have been great inspirations. I grew up loving French and Belgian comics like Asterix and Franquin, in the 90s I was hooked on Fantagraphics stuff (Hate, Eightball etc), and strips like Peanuts and Calvin & Hobbes have always been with me. Lately I’ve been looking into manga comics, working quite hard to find something to get hooked on. I’ve found a few gems, last one was The Girl From The Other Side, which I think everyone should read. Another artist who’s books I keep close these days is the Italian cartoonist Gipi.

TOM: What was the first thing you would seriously draw? I mean, I would draw Fred Flintstone, I always remember as a young child doing that. Did you draw a character or have a favorite subject at a young age?

JENS: Ah, I remember copying Beetle Bailey in very early years. I was maybe 12 when I decided I wanted to become a comic artist. My theory was that I had to draw every day, so that’s what I did. Much of the daily grind at that time was copying whatever I could find. Some comics were almost impossible to copy, and those were often the ones I liked most. I think I was early aware of the mystical quality in a line/stroke and how some drawing styles had more of a “soul.” Early on, I found it hard to do comics, because I was more into drawing than writing. In my recent comics hiatus I wrote and published two novels, so that was pretty much turned around in time.

TOM: What famous artist, dead or alive, would you want to paint your portrait?

JENS: I think Quentin Blake could do a good one, probably also Richard Thompson. Those would probably be ink drawings. If I was to be painted in oil, it could maybe be by Australian comic artist Ashley Wood. Or Norwegian Edvard Munch, he would have painted me as some sort of devious villain.

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TOM: Who is your favorite super hero?

JENS: Ouch, I don’t mean to be cocky, but I’ve never been enthusiastic about any superhero comic (or superhero movie). Guess my reply just has to be «blank» on this one.

TOM: If you could go back in time and change one thing, what would it be?

JENS: I would have started doing this Dunce-strip in 1995, when all newspaper editors were happy and positive people with an optimistic outlook for the future.

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Jens K at work with Brego nearby. (Photo by Agnese Zile)

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Finding obscure comic strips

10 With Tom
10 questions in 10 minutes

I’ve been reading Allan Holtz’s “Strippers Guide” blog since it started in 2005, I believe. I love it because it’s all about thing I love – comic strips – old, historical comic strips. Alan is a comic strip historian and author of “American Newspaper Comics: An Encyclopedic Reference Guide,” a book I own.

Each day, Allan (shown here) and contributor Alex Jay, talk about old comic strips on the blog with plenty of wonderful images of the strips. Many I never heard of and quite a few bring back memories. I had the opportunity to interview Allan recently for Ten With Tom.

Allan-Medea-Jim

Allan at right, with his wife Media and cartoonist Jim Ivey at Jim’s 90th birthday party.

TOM: I love old comic strips and newspapers and enjoy the Strippers Guide blog, what made you come up with the idea of the blog?

ALLAN: I was about to begin shopping my book, “American Newspaper Comics – An Encyclopedic Reference Guide,” around to publishers. I’d spent over twenty years researching the book, and my name was somewhat known in the comic strip collecting world, but I felt that it would be helpful if I had wider name recognition. In 2007, when I started the Stripper’s Guide site, blogs were the hot new thing on the web. I figured that if I posted regularly about comic strips, with some eye candy in the form of nicely restored old comics, it might help my cause.

Well, it didn’t really help at all with publishers; I ended up having the book accepted by the University of Michigan Press primarily because another author vouched for me. However, I found that the daily regimen of writing short essays, and scanning and restoring the comics, was just what the doctor ordered to stimulate my desire to continue my research work. I also thrive on the feedback I receive from comic strip fans and historians.

TOM: Why Stripper’s Guide? I know what strippers are in the newspaper business, but what made you use that for the name?

ALLAN: I was trying to come up with a catchy title for the blog, and I figured that anyone with an ounce of curiosity would be intrigued by a site that calls itself Stripper’s Guide. Comic strip fans have occasionally called themselves strippers long before I came along, so I don’t get any points for originality. Over the years I’ve fielded my fair share of comments from site visitors who were hoping to find something very different. But maybe I turned a few of them into comic strip fans!

I wanted to call my book Stripper’s Guide as well, but the folks at University of Michigan Press very sweetly told me that there was no way in hell they would publish a book with that title. I still think we could have sold more copies, though …

detective-riley

Detective Riley, an obscure comic strip from the 1930s

TOM: I love the obscure comics, what you post as “Obscurity of the Day.” How do you find those? I know of some old comics I’ve been trying to find and I can’t find them.

ALLAN: Decades of research have yielded a practically never-ending supply of comic strips I can discuss for “Obscurity of the Day.” The real trick is getting the samples to show. Since microfilm photocopies and online newspaper archive images are rarely of decent quality, I have to find original newspapers that print these rarities, from which I make high-resolution scans and then do additional restoration work.

There is a lively trade in old newspaper comic strips. I haunt eBay constantly, always looking for oddball and obscure material, whether in the form of clipped comic strips, complete newspapers, or even newspaper bound volumes discarded by libraries. My collection is pretty vast and I’m always looking for more.

As to the subject of finding dimly remembered old comic strips, I get asked about them a lot. I’ve become a regular Sherlock Holmes when it comes to identifying dimly recalled comic strips from the past. Between a vague description (sometimes as little as “it had a funny looking kid in it”), a general idea of when they remember reading it, and the newspaper they saw it in, I can usually come up with the answer.

TOM: Do you draw? Have you ever created a comic strip yourself?

ALLAN: I’m good at quite a few things, but drawing is definitely not one of them. Unlike the old saying, though, I can in fact draw straight lines. It’s those darn curved ones that are completely beyond me. I think that may be a part of my fascination with comic strips — the ability to boil a story down to a few deftly arranged pen lines never loses its magic for me.

I did actually create a comic strip, though. I used to work in the software industry, and my company had a monthly newsletter. Just for kicks I came up with a sort of a Dilbert-y comic strip for it. At first I tried to populate it with stick figures, but it was incomprehensibly bad. So I drew a closed office door, and had all the dialog emanating from the other side. After submitting two of those, the newsletter was cancelled. I fear it was my fault.

TOM: You are the author of “American Newspaper Comics: An Encyclopedic Reference Guide.” I have owned that book for many years. How did that come about to begin with?

ALLAN: When I first got seriously interested in newspaper comics and wanted to read about their history, I was frustrated by the quality and lack of depth in the references available then. It seemed like everybody talked endlessly about a standard litany of high profile classic comics — Flash Gordon, Krazy Kat, Little Nemo and so on — but when they ventured beyond those strips the information was generally spotty, and often just plain wrong.

So I set out to gather all the basic information about every US newspaper comics and panel — their running dates, creators, formats, and so on. I felt that a comprehensive reference was needed as a jumping off point for researchers who want to go into more depth. I had no idea when I started that I was embarking on a project that would take a lifetime!

The book was originally published in 2011 and I’ve continued researching ever since, so I’ve got lots of new information to share. I’m very proud of the original book, but I’m hoping there’s a way to bring out the 2nd edition at a much lower price. I want comics enthusiasts to be able to buy a copy without feeling that they need to live on bread and water for a month to afford it.

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A late 1970s strip, The Captain’s Gig, by Virgil Partch

TOM: What comic strip from today or the past would you like to crawl into and spend the day?

ALLAN: Wow, that’s a great question. My first instinct is to say I’d like to be Jiggs from Bringing Up Father. He’s obscenely rich, lives in rococo splendor, and moves through an Art Deco world drawn by the great George McManus. But then I remember that Jiggs regularly gets beaned by Maggie, his harridan wife. Maybe not so great after all.

I could have a wild day as Little Nemo, Buck Rogers or Captain Easy, but I’m enough of a homebody, used to my creature comforts,to take a pass on that.

No, I guess my choice is Dagwood from Blondie. He has a job where he gets away with murder, naps on the couch, and eats the most stupendous sandwiches without ever gaining an ounce. And who doesn’t have a crush on Blondie, whose personality, figure and lovely face put us imperfect real humans to shame.

TOM: Have you met many famous cartoonists? Which ones impressed you the most?

ALLAN: Cartoonists are the celebrity superstars of my world, and I’m sufficiently in awe of them to be a bit shy. I confess that I’ve been in the same room with some of my ink-slinging heroes and sometimes not gotten up the gumption to introduce myself. Which is pretty stupid, because cartoonists are cooped up in their studios so much that when they do get out in public, they tend to be very friendly and giving of their time.

I’d have to say that the cartoonist who impressed me most was still the very first one I met, at a comic book convention in Orlando. Wayne Boring had been the artist on Superman (both comic books and the newspaper strip) in the 1950s and ’60s. By the time I met him he was retired, and I was a snot-nosed 12-year old who saw the gray-haired fellow as a god.

I got up the nerve to approach him with a copy of one of the last Superman comic books he worked on. Much to my amazement, he was not only friendly but sat with me for about five minutes, paging through the comic book and reminiscing about working on it. He even asked me questions, which seemed impossibly congenial. I’ll never forget it.

TOM: Now that Bloom County is back, which of these classics would you like to see come back, too: The Far Side, Calvin and Hobbes or Pogo. Please choose just one.

ALLAN: Well, they are all classics, but if I could only have one back, it would by Gary Larson’s The Far Side. I’ve always had a particular affinity for slightly subversive and off-kilter humor (my current favorite strip is Zippy the Pinhead). Although Larson said he ended the panel because he felt his well was running dry, I’m betting that after the long layoff his creative juices have been revitalized and he could have another great run.

TOM: Do you attend comic cons? Which one do you like or prefer?

ALLAN: Comic conventions are about comic books, not newspaper strips, so I’d be a fish out of water. As a kid, when I was more into comic books, Jim Ivey‘s annual OrlandoCon was the highlight of my year. OrlandoCons were great because Ivey invited all these amazing cartoonists he knew, most of whom were newspaper comic strip artists and editorial cartoonists. Meeting these people opened my eyes that comic books were not the sum total of cartooning by a long shot.

From what I understand, nowadays most comic conventions are more about adaptations of comics for movies and television than they are about actual comic books, so I’d be doubly out of my element.

TOM: When you were a kid, what newspapers did you see/read the comics in? What is your earliest memory of reading comics?

ALLAN: I lived in Montreal as a kid, so I fondly recall the strips that ran in the Montreal Star. I especially remember Jasper, which was a comic strip distributed only in Canada. It was about a bear who lived in Jasper National Park in Alberta Canada. I guess that would qualify as an Obscurity of the Day on Stripper’s Guide now!

What really doomed me to a life of loving comic strips, though, was when my dad was doing some plumbing repair under our house and he came out of the crawlspace with an old newspaper he’d found wrapped around a pipe. It was a copy of the Sunday comics from a Montreal Gazette of the early 1940s. This 10-year-old kid had never seen such large, beautifully colored glorious comics. They were a powerful revelation to me, who was used to comic strips printed muddily and on the scale of a postage stamp in current newspapers. I must have read that old comics section a hundred times, and I guess that sealed my destiny.

TOM: Thank you Allan!

Herriman

A 1909 strip by George Herriman.

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10 things you didn’t know about Trading Spaces’ Paige Davis

10 With Tom
10 questions in 10 minutes

 

paige-davisTrading Spaces is coming back! Yup, the granddaddy of DIY shows! Paige Davis is back along with most of the designers you might remember from the popular show that ran from 2000 to 2008. Along with Paige, returning are Doug Wilson, Genevieve Gorder, Hildi Santo-Tomas, Vern Yip, Frank Bielic, and Laurie Smith. Carpenters Ty Pennington and Carter Oosterhouse are back too!

As you may remember, two sets of neighbors redo a room at each others houses over a weekend with the help of two designers for that week.

The new version premiers Saturday, April 7 at 8 pm on TLC.

I had the chance to ask Paige the 10 With Tom Questions. Here we go . . .

TOM: How did the idea for the reboot come about?
PAIGE: I’m not 100% certain, but I believe TLC felt it was good timing on the heels of the nostalgia wave that is sweeping television right now. There are currently so many reboots of old shows. It’s comforting and fun. Waiting for Trading Spaces to air is like saving the best for last.

TOM: Had you kept in touch with any of the cast/designers over these past 10 years that the show was off the air?
PAIGE: Definitely. And Facebook and social media has made it even easier than before to keep up with each other’s lives.

TOM: Where will the shows be taped? One city? Different areas of the country as in the past?
PAIGE: Our show has always been taped around the country. This reboot is no different. This season there are episodes in southern California, Atlanta, and Baltimore.

TOM: Are you stopped by fans when you travel? What is their number one question?
PAIGE: I am stopped by fans sometimes, yes. The number one thing I’m asked is, “Will you come to my house?” I always say, “Careful what you wish for.”

TOM: Are you a designer, have you designed or did you just fall into the hosting aspect of the show?
PAIGE: I am not a designer. Though I do have a love of decor and design. I am a dancer/singer/actress by trade. Trading Spaces was simply a job I auditioned for. A bit of fluke that I booked it.

TOM: If you had one super power, what would it be?
PAIGE: To never be hungry or to be able to curb cravings with the wiggle of my nose.

TOM: What was the last tv show you watched?
PAIGE: Speechless.

TOM: What’s the last thing you took a picture of?
PAIGE: The Playbill cover of Carousel on Broadway. My dear friend is in the ensemble. We went to see her last night.

TOM: When you guys trade spaces, what is your favorite room in the house for a do-over?
PAIGE: I can’t speak for the designers, but I love when we do family rooms because they have the most jeopardy if the homeowners are disappointed. Lots at stake when it’s a room you spend a great deal of time in.

TOM: Starry Night, Mona Lisa or Les Demoiselles d’Avignon by Picasso?
PAIGE: Picasso, all the way.

TOM: Thanks Paige! We’ll be looking for you on April 7!

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10 things you didn’t know about Rina Piccolo’s groove

10 With Tom
10 questions in 10 minutes

 

Rina Piccolo is a syndicated cartoonist, best known for her daily comic strip “Tina’s Groove,” which revolves around Tina, a waitress at Pepper’s Fine Dining Restaurant. Tina’s Grove started in 2002 and is distributed by King Features Syndicate. She also does lots of other single panel work for magazines and has filled in for other cartoonists. I think the best part is her name – Rina Piccolo – very musical.
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Cartoonist Rina Piccolo

TOM: You do the Tina’s Groove comic strip and I’ve seen single panel gag cartoons, and also sometimes fill in for Hilary Price for Rhymes With Orange and I’ve also seen Six Chix in the past. How do you decide what gags to use for which comic strip or gag cartoon?

RINA: It’s a wonder that no one has ever asked me that because it’s an issue that I encounter often, and it can sometimes be really frustrating. I mean, I have all these outlets for cartoon ideas (well, I no longer do cartoons for Six Chix, so there’s one outlet gone), and it’s often hard to see where best to use them. Sometimes ideas choose for themselves where they want to go. Like, for instance, all restaurant/workaday gags would obviously be used for my strip Tina’s Groove, since it’s about a waitress and her co-worker friends. And if I ever have an idea that’s too racy for the newspaper comics, then I try to shop it around to various magazines that publish cartoons in the style that you see in the New Yorker. On the occasion when I’m filling in for Hilary Price’s Rhymes With Orange comic, I usually have a couple of gags in my drawer that I can’t use for any of my outlets, and what I do is combine these with fresh ones that I sit down to write specifically for the Guest Spot.

TOM: Tina is a waitress, were you ever a waitress, you seem to know so much about the restaurant business?

RINA: Let me admit it right away– I make a terrible waitress, ha ha! However, I have worked in several restaurants in other capacities (kitchen, and counter service). In the last restaurant that I worked in I was the Hostess, and interestingly enough, it was while I was in that job that I had cooked up the idea to do a strip about a waitress, and life in the service industry. Anyway, as I say, I never made it as a server — once, in a small café that I worked in as sandwich-maker/kitchen help, they needed someone to fill in temporarily as a server, and so I served tables — for about 15 minutes. That’s how long it took for the owner to tell me to go back to the kitchen. Ha! Anyway, all this just to say that the reason I know what I know about the restaurant business is because nearly all of my “real” jobs were jobs in which I worked with the public. Anyone who’s worked with the public — and not just the restaurant business– shares the same sorts of experiences. That’s basically what fuels Tina’s Groove.

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KING FEATURES SYNDICATE

Tina’s Groove

TOM: How long did it take for Tina’s Groove to bet syndicated? Did you submit the feature to many syndicates? Did you submit other features? What were those about?

RINA: Like nearly every cartoonist at the time, I submitted stuff to all the major syndicates, with no real success. Then, in 1997 or thereabouts, Jay Kennedy, the comics editor (at the time) of King Features syndicate, had become familiar with my single panel gags from contributions I was making to “The New Breed”– a single panel daily that had a different cartoonist every day of the week. Anyway, he called me — this was back in the days when people actually used to use the phone to call people, ha ha. And the weird thing is, the call came one afternoon when I was putting together a submission to King– I mentioned it to him, and he said, “Put my name on it, and I’ll make sure it gets straight to my office”, or something like that. When I hung up I felt stunned. It really felt like it was written in the stars, or something silly like that. But the feeling of having a wide open door to a syndicate deal was fleeting, because what followed was three or four years of going back and forth with Jay, submitting strip premise ideas and character ideas, with no guarantee of a contract. On about the two or three year, I took one of the characters I’d been working with and made her a waitress. When Jay saw it, he liked it enough to encourage me to move in that direction, and from that was born “Tina” from Tina’s Groove. But I should stress that I had always wanted to do a single panel gag cartoon, and not a comic strip with characters. Apparently the trend at the time made character-driven strips more marketable, and Jay was only interested in seeing comic strips; he encouraged me to go in that direction, so that’s what I created. As for the other characters & strip ideas that I submitted to Jay in those years I can only say that there were several, and I can barely remember a couple of them – one of them was a kid strip that featured a little girl who narrated her views of the world around her, and another was an actress character whose roles in movies became adventures in the strip. Or something like that. My old brain can’t recall most of the crap I wrote at the time!

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KING FEATURES’S SYNDICATE

Tina’s Groove

TOM: How do you work? What is the schedule like?

RINA: I do have a schedule. My schedule is that I work all the time, ha ha! Seriously, I am one of those people who just really enjoys this stuff a lot, and I seem to have an eagerness to constantly create stuff. I pencil and ink Tina’s Groove on Monday, write material on Tuesday, and part of Wednesday, pencil and ink the Sunday cartoon on Wednesday, and then I have Thursday, Friday, Saturday, and part of Sunday to work on other projects– personal or paid work. If I have a free evening I like to goof around in my sketchbook.

TOM: Although cartoonists seem to be alone most of the time, they seem to be a cliquish group. What other cartoonists are you friendly with?

RINA: Yes, the industry is pretty small — at least the world of syndication is — and everybody kind of knows everybody else. Some of us have great friendships that last years and years, and yes, even romances. But like you say, cartoonists spend an awful lot of time alone, and so when we get together, well, it’s what you’d imagine — a lot of catching up, a megadose of shop talk, and some gossip thrown in. I love my cartoonist friends. The ones I hang out with, or keep in touch with, in person, or through Skype, are Sandra Bell Lundy (Between Friends), Paul Gilligan (Pooch Cafe), Cathy Thorne (Everyday People Cartoons), Susan Camilleri Konar (Six Chix), Anne Gibbons (Six Chix) ( in fact you can include all of the Six Chix ladies, as we Skype now and then), Hilary Price (Rhymes With Orange)… oh boy, there are more, but do I have the space here to list everyone? When I lived in NYC I used to hang out with a lot of cartoonists in the NY, NJ, and Connecticut area. I think the reason why cartoonists are “cliquey” is because we relate to one another in a way that others just don’t, or can’t. Cartooning is an uncommon profession. (It’s not like the typical neighborhood comes with a couple of pro cartoonists in it.) Since it’s such a rarity, it’s nice to have a friend that can totally relate to you when you say something about penciling, or inking, or anything like that, without having to explain (which I think would be boring for people who don’t cartoon).

TOM: Digital or pen and ink?

RINA: Both! I use a Cintiq Companion to pencil and ink Tina’s Groove (also used it for last two years of Six Chix, and my guest weeks on Rhymes With Orange). And I use a brush, pen, and ink to draw gag cartoons (magazine gag cartoons, and lately for the book I co-authored, Quirky Quarks: A Cartoon Guide to the Fascinating Realm of Physics.) I also do a lot of sketchbook drawings in a paper sketchbook. Sometimes I draw on my iPad, or Cintiq for animated Gif art, and things like that.

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KING FEATURES’S SYNDICATE

Tina’s Groove

TOM: What was the first thing you would seriously draw? I mean, I would draw Fred Flintstone, I always remember as a young child doing that. Did you draw a character or have a favorite subject at a young age?

RINA: Horses. I’ve always loved horses, and when I was a little girl I used to try to draw them all the time. I still can’t draw a horse. Well, not a good one.

TOM: What famous artist, dead or alive, would you want to paint your portrait?

RINA: Jackson Pollock… Ha, ha, kidding! (Although he’d get my hair right.) … Seriously, good question — I really don’t know. John Singer Sargent would certainly make me look good in brush strokes. No way I’d let Robert Crumb draw me– I think he’s a master, but he’d probably give me a bulbous butt.

TOM: Favorite movie of all time?

RINA: The Wizard Of Oz. That movie does something to me. I’ve watched it numerous times. It never gets old.

TOM: What other comic strips/panels do you enjoy? Past and present.

RINA: I wouldn’t call myself a humongous consumer of comics, weirdly, but I do enjoy a lot of them. In fact, too many to list here—and many are created by people that I know personally. My all time favorites, I can say, are Lynda Barry’s “Ernie Pook’s Comeek”, and anything by Roz Chast (especially her longer-form stuff). I’ve always loved these two because their stuff makes me literally laugh out loud — and I know how difficult it is to have that effect on a reader.

TOM: Thank you, Rina. Enjoyed the chat!

See all my 10 With Tom interviews here.

The company I keep; or hope to keep

interviewI’ve  been interviewing a lot of cartoonists lately for my 10 With Tom series. I’ve interviewed many people over the years from “real housewives” to authors, news reporters, fashionistas and actors.  But I think I enjoy the cartoonists the most since that’s what I do and I learn from the interviews. I ask questions that I’m curious about, mostly their influences and their techniques.

An interesting thing about most people and especially the cartoonists is how humble they are. They are all very appreciative of me asking for the interview and they seem to enjoy doing it. I like that about them, they are a great group, I like associating myself with them. I’ve interviewed “the greats” and those starting out, and they all are the same – nice, appreciative and kind.

There are some interviews I’ve tried to get but I either get the runaround or no answer at all. I like to think the email went to the spam folder on those, rather than the fact that they just plain ignored me.

But my point is that I am always amazed at the humbleness and gratefulness of these people I admire, who I am interviewing because I admire. Some become friends or friendly and we run into each other at places like Comic Cons and such and I like that. I like being part of that company.

I do all of the interviews for the Huffington Post but I’ve posted many of them after they run in the HuffPost, right here in my blog. You can see them here.

I had to laugh at one major cartoonist who said he didn’t like the HuffPost and didn’t want to have his interview there. When I asked if I could post it in my Tomversation blog, right here, he agreed. So I got that interview with him. That was gracious of him to to ahead with the interview anyway for the few thousand that read Tomversation rather than the millions who read the HuffPost. Just another example of why I like cartoonists.