by Mike Rhode

Baltimore Comic-Con is one of the best and friendliest of the mid-size superhero focused cons. Under the leadership of Marc Nathan and Brad Tree, it's grown quite a bit in a decade and a half, but still remains enjoyable for all ages and interests. Hang Dai Studios is based in Brooklyn, but as usual will have a big presence at Baltimore. My friend Dean Haspiel (and Hang Dai Studios founder) will be there with the whole studio, a week after he, Christa Cassano and Gregory Benton attended the Small Press Expo. We hope to have interviews with everyone in the studio throughout the week. Our fifth interview is with Dean Haspiel.

Where did "Hang Dai" come from? 

 "Hang Dai" was derived from HBO's "Deadwood." Whenever Al Swearengen and Mr. Wu would curse their way through a private deal and come to an agreement, Wu would cross his fingers and say "Hang Dai." Or, something that sounded like that and which meant "Brotherhood." Or, as my studio mate Christa Cassano likes to say, "Sisterhood."

What type of comic work or cartooning do you do?

I hopscotch between superhero and memoir and psychedelic romance comix. My recent effort is called Beef With Tomato, co-published by Alternative Comics and Hang Dai Editions. It's about my escape from Manhattan to Brooklyn.

How do you do it? Traditional pen and ink, computer or a combination?

Blue pencil, occasional brush pen and Micron pens + digital shading/coloring.

When (within a decade is fine) and where were you born?

1967. New York Hospital.

What is your training and/or education in cartooning?

The comic book rack on the newsstand at the corner of 79th street and Broadway in NYC was my comix kindergarten. Later on I discovered a steady flow of pop art pulp treasures at West Side Comics, opened a weekly account at Funny Business, and discovered American Splendor and Yummy Fur at Soho Zat. After that, any inklings of pursuing a normal life went out the window when dreams of drawing comix for a living took over and held my sway. I never learned how to draw comix in school because school didn't teach comix. School shunned comix. Comix taught me how to make comix. And, I'm still learning how, one panel at a time.

Who are your influences?

Ron Wilson, Jim Aparo, Jack Kirby, C.C. Beck, John Byrne, Steve Ditko, Alex Toth, Will Eisner, Frank Robbins, Jim Starlin, Michael Golden, Howard Chaykin, Walter Simonson, Bill Sienkiewicz, Mike Zeck, Frank Miller, Katsuhiro Otomo, John Romita Jr., Frank Quitely, Goran Parlov, Darwyn Cooke, Marcos Martin, Chris Samnee, Gregory Benton, Josh Bayer, Stan Lee, Warren Ellis, Jason Aaron, Brian K Vaughan, Joe R. Lansdale, Jonathan Ames, Mickey Spillane, and Richard S. Prather.

If you could, what in your career would you do-over or change?

The Thing: Night Falls On Yancy Street. I wasn't ready. I would ask to change the dark ending, too, so me and Evan Dorkin could make it Marvel canon rather than Marvel folklore.

What work are you best-known for?

I believe I'm best known for my collaboration with Harvey Pekar on The Quitter. Possibly, the ten-issues of The Fox I recently co-wrote and drew for Archie Comics. Maybe, some Billy Dogma.

What work are you most proud of?

Billy Dogma in Fear, My Dear. And, Heart-Shaped Hole.

What would you like to do or work on in the future?

I aim to focus on creator-owned comix but, given the opportunity, I'd like to write and draw The Fantastic Four, Captain Marvel (Shazam), O.M.A.C., Deathlok, and bring back Marvel Two-In-One, featuring The Thing. I also have a great Batman & Superman story that features cameos of the JLA, done in the spirit of a cross between Sullivan's Travels and On The Road.

What do you do when you're in a rut or have writer's block?

Wash dishes. Work on something wholly different. Mix it up. Your mind is always working. Let it work by letting it relax and think different.

What do you think will be the future of your field? 

Patronized digital comix produced one panel at a time; published one per day, delivered directly to your phone, and story arcs get collected into print (if necessary).\

Why are you at the Baltimore Comic-Con this year?

Baltimore Comic-Con is my favorite show, bar none. A perfect combo of rookie and veteran cartoonists among old and new comic books and just the right amount of cosplay. I've also been a regular guest for almost 15 years.

What other cons do you attend? The Small Press Expo, or others? Any comments about attending them?

Besides BCC, I usually attend SPX, NYCC, MoCCA, CAB, and Locust Moon Comics Festival. I was a guest of Wizard World six times this year. They treat me very well.

What's your favorite thing about Baltimore?

Marc Nathan and Brad Tree.

Least favorite?

I've yet to encounter anything in Baltimore to make me dislike its innate charm.

What monument or museum do like to take visitors to?
 

One day I plan to stay an extra day or two so I can personally visit Baltimore's culture.

How about a favorite local restaurant?
 

Out of pure proximity and laziness, I tend to grab dinner at the M&S Grill on E Pratt Street and soak in the Inner Harbor sights.

Do you have a website or blog?

http://deanhaspiel.com/

Years ago, my friend Dean Haspiel suggested that I interview Harvey for a Small Press Expo panel - that turned into a journal article, and then a book, as well as a friend acquaintance with Harvey. Harvey died earlier this year, and Dean's got a nice tribute strip up about Harvey now.

This is a nice letter from one of his co-workers at the VA hospital:

A day in the working life of VA file clerk and 'American Splendor' creator Harvey Pekar
Friday, July 23, 2010

At some point I'll try to list all of the interviews that popped up after Harvey's death, but hadn't been included in Harvey Pekar: Conversations.

I actually got a phone call from Australia last night - and I'm old enough to find that technologically marvelous and cool - for quotes for this story:

American Splendour's Harvey Pekar dies
Thea Dikeos reported this story on Wednesday, July 14, 2010
ABC News' PM
http://www.abc.net.au/pm/content/2010/s2953704.htm
http://mpegmedia.abc.net.au/news/audio/pm/201007/20100714-pm11-splendour.mp3

I'm going to keep mulling over that spontaneous Steinbeck comparison as I think there's something to it. When I mentioned Hemingway and Steinbeck, I initially meant Pekar was a quintessentially American writer, but I think he might have some real thematic links to Steinbeck.

Harvey Pekar Was A Person In Your Neighborhood
by Glen Weldon
July 12, 2010

The official obituary -

Harvey Pekar dead: American Splendor comic writer was 70
By Terence McArdle
Washington Post Staff Writer
Tuesday, July 13, 2010; B05

Comments from other cartoonists -

A PEKAR TRIBUTE: Collaborators & colleagues remember 'sweet, curmudgeonly' Harvey
By Michael Cavna
Washington Post Comic Riffs blog July 13, 2010.

And the NY Times -

Harvey Pekar, ‘American Splendor’ Creator, Dies at 70
By WILLIAM GRIMES
July 13, 2010

Finally, Tom Spurgeon's putting together a compilation page of Internet links.

It sounds like Harvey just wore out last night.

I'm sure tributes and obituaries will be popping up all over this week. I know the Washington Post print edition should have one tomorrow. Today Comic Riffs did two posts on Harvey -

Remembering Harvey Pekar, legendary bard of the 'underground' comic book
By Michael Cavna, July 12, 2010

Michael got my first impressions for this article, almost immediately after I heard the news while on vacation -

Harvey Pekar book editor recalls a 'kind and diffident' man
By Michael Cavna, July 12, 2010.

A longer piece, quoting liberally from a 2005 interview I did with Harvey, should appear on the City Paper's website tomorrow.

I've just heard that Harvey Pekar passed away during the night. Some years ago I was asked to fill in and interview Harvey at SPX. I reluctantly agreed, and went home and brushed up on his career. Day 1 went well, so I did the second session the next day with Harvey and his collaborators Josh Neufeld, Ed Piskor and Dean Haspiel. These two interviews became the genesis of my edited book of interviews, Harvey Pekar: Conversations. Harvey gave me his permission to use anything he had done, but he didn't have a file of interviews to make my life much easier. I got the occasional thrill of picking up the phone and hearing him saying, "Hey Mike, it's Harvey Pekar" as though his gruff voice wasn't immediately recognizable. The book came out about a year later, and Harvey and I stayed loosely in touch. I always found him to be kind and approachable, not a curmudgeon, and will miss our infrequent talks and any new stories from him. Through the force of his intellect and willpower, Harvey made himself a part of the American experience and we've lost something with his death.

This one's an audiofile so it's going to be kind of hard to cut it out and tuck it in Harvey Pekar: Conversations, but I have faith in your ingenuity.

Phone call with Harvey Pekar
by LADYGUNN . March 15th, 2010 .
http://ladygunn.com/love-life/phone-call-with-harvey-pekar
http://vimeo.com/10181052

Here's another interview that's not in my Harvey Pekar: Conversations, in case you want to print it out and tuck it in.

Q and A: Harvey Pekar in 2000
Words: Christopher Irving
Friday, December 4, 2009

I'm not trying to keep up with all of Harvey's interviews now that the book is finished, but Irving and Kushner have a nice one up at their Graphic NYC blog. And Jeff Newelt's Pekar Project keeps moving along.

I found quite a few interviews for my book Harvey Pekar: Conversations, including some that didn't make it into the book for one reason or another, but here's one I missed completely: My 2004 interview with Harvey Pekar.

This article is by Harvey Pekar's second cousin and glances at family ties - Sidewalk Phantom, By AUSTIN RATNER, New York Times Magazine June 21, 2009
http://www.nytimes.com/2009/06/21/magazine/21lives-t.html

NPR has a good story about it too.

Leave Me Alone!, a Jazz Opera by Harvey Pekar and Dan Plonsey, to Premiere at the Oberlin Conservatory Of Music and via Webcast on Jan. 31, 2009

American Splendor Icon Pekar Focuses His Sardonic Wit on the Everyday Struggles of Avant-Garde Artists, with Music from Cleveland-born Composer and Saxophonist Plonsey

OBERLIN, OHIO (December 10, 2008) —The iconic underground comic book author Harvey Pekar will make his operatic debut at the Oberlin Conservatory of Music in Leave Me Alone!, an autobiographical jazz opera. A collaboration by two Cleveland natives, the opera combines a libretto by Pekar with music by saxophonist and composer Dan Plonsey. Leave Me Alone! depicts the lives of its creators in quotidian detail while asking big questions about the place of cutting-edge art in our society. Amidst the demands and interruptions of day-to-day life, Pekar and Plonsey wonder, how can artists carve out time for their creative work? More importantly, they ask, how do we cultivate a society that is receptive to the avant-garde? The opera, which is presented by Oberlin in cooperation with Real Time Opera, will receive its world premiere in a free performance on Saturday, January 31, 2009, at 8 p.m. in Finney Chapel. The performance will also be streamed live to an international audience online at www.LeaveMeAloneOpera.com.

Finney Chapel is located at 90 N. Professor Street in Oberlin, Ohio, just 40 minutes southwest of Cleveland.

"There ought to be a place for cutting edge work," says Pekar, who believes that many major cultural institutions have shirked their responsibility to support contemporary art and challenge audiences. "I thought there wasn't much out there being said about this, and I wanted to open up some discussion."

Called "the blue-collar Mark Twain" by Variety, Pekar is best known for his autobiographical comic book series American Splendor, in which he elevated the mostly mundane details of his life as a working-class Clevelander to the level of art. The series won the American Book Award and a film adaptation took top honors at the Cannes and Sundance film festivals. Composer Plonsey, who was born and raised in Cleveland Heights, has been a lifelong proponent of new music, and has founded several new music series in and around his current home in El Cerrito, California.

"The opera, simply put, is the non-fictional account of its own creation," says Plonsey. In the story, Pekar and Plonsey engage in discussions about music, the state of the avant-garde, and the creation of the opera itself from their Cleveland and San Francisco Bay Area living rooms. A taped conversation between Pekar and comics illustrator Robert Crumb provides an additional perspective on the opera's themes. The wives of Plonsey and Pekar, Mantra Ben-ya'akova Plonsey and Joyce Brabner (who portray themselves in the production), enter the plot, as does Josh Smith, the opera's music director. Oberlin Conservatory students will also be involved in the production; four singers will double the protagonists on stage and an ensemble of six jazz musicians will back them in the pit, playing alongside Plonsey and Smith.

Plonsey and Pekar are deeply committed to the notion that art transcends distinctions of class and hence ought to be available to all. Accordingly, both the live performance and the webcast of the opera will be offered free of charge. Those wishing to support the production may do so by purchasing a comic about the opera, written by Pekar and illustrated by Joseph Remnant, at www.LeaveMeAloneOpera.com. The comic is available as a signed, limited-edition print ($300) or digital download ($5). Visitors may also purchase a cell-phone ring tone featuring Harvey's inimitable voice ($5) on the site.

Performers and Production Team
Several of the performers in the opera will play themselves, including Dan Plonsey, Harvey Pekar, Mantra Ben-ya'akova Plonsey, and Joyce Brabner. Oberlin Conservatory and College singers Patty Stubel '09, Kate Rosen '11, Joanna Lemle '10, and Christopher Rice '10 will double the characters on stage; students, including dummer Noah Hecht '10, trombonist Aaron Salituro '11, saxophonist David Schwartz '12, and trumpeter Gregory Zilboorg '13, will also play in the band.

The production team includes Paul Schick, executive producer for Real Time Opera; Josh Smith, musical director; Associate Professor of Opera Jonathon Field, stage director; Robert Katkowski, set designer; Barry Steele, lighting designer; Victoria Vaughan, stage manager; and Dan Michalak, musical preparation. The webcast will be produced with help from Oberlin professional staff and students, including Associate Dean of Technology and Facilities Michael Lynn, Director of Audio Services Paul Eachus, Director of Networking Barron Hulver, and Technology Consultant Todd Brown.

About the Librettist: Harvey Pekar
Harvey Pekar, a native of Cleveland, Ohio, is best known for his autobiographical comic book series American Splendor. Pekar began self-publishing the series in 1976, at the urging of friend and noted illustrator Robert Crumb. Unique among comic books of the time, Pekar's stories documented the minutiae of his daily life: working as a file clerk in the VA hospital, grocery shopping, or simply searching for a lost set of keys. In 1987, Pekar was honored with the American Book Award for his work on the series, and in 2003 American Splendor was adapted as a movie to widespread critical acclaim. An avid record collector, Pekar began his writing career as a book and music critic, with a particular interest in jazz. His reviews have been published in the Boston Herald, the Austin Chronicle, Jazz Times, Urban Dialect (Cleveland), and Down Beat magazine. Pekar's commentary for public radio station WKSU, starting in 1999, won him several journalism awards, including the 2001 Regional Edward R. Murrow Award for Best Writing. Pekar was a frequent guest on Late Night with David Letterman in the late 1980s; his infamous on-air criticism of General Electric got him temporarily banned from the show, although he did make two more appearances in the early 1990s. In 2001, Pekar retired from his job as a file clerk at the local VA Hospital. He lives in Cleveland Heights with his wife Joyce and their foster daughter Danielle.

About the Composer: Dan Plonsey
Saxophonist and composer Dan Plonsey was born and raised in Cleveland, Ohio. Drawing inspiration from musicians as diverse as Sun Ra and Charles Ives, Plonsey's music defies easy categorization. "No doubt," writes All About Jazz, "Plonsey is a creative soul who possesses a Renaissance spirit." In recent years Plonsey's instrumental work has focused on large ensembles of mixed instrumentation and ensembles of multiple saxophones. His more than 200 works for large and small ensembles include commissions from Bang on a Can, the Berkeley Symphony, and New Music Works in Santa Cruz. He has written numerous operas, including three collaborations with Paul Schick of Real Time Opera. From 1994-99, he was the resident composer and chief librettist for Disaster Opera Theater in El Cerrito, California, where he currently lives. He also founded the weekly Beanbender's creative music concert series in Berkeley, which is ongoing on an occasional basis. Plonsey earned a Bachelor of Arts degree in math and music from Yale University and a Master of Arts degree in composition from Mills College. He has studied composition with Martin Bresnick, David Lewin, Anthony Braxton, and, more briefly, Roscoe Mitchell and Terry Riley. He currently lives in the San Francisco Bay Area with his wife Mantra and their two sons, Cleveland and Mischa.

About the Director: Jonathon Field
Jonathon Field is one of America's more versatile and popular stage directors, having directed more than 100 productions in all four corners of the United States. He served as artistic director of Lyric Opera Cleveland for six seasons, where he presented the operas of Mozart, Rossini, and Donizetti as well as the Ohio premieres of works by John Adams, Mark Adamo, and Philip Glass. Several of Field's productions for the Lyric Opera of Chicago were so successful they were repeated at the Illinois Humanities Festival with Stephen Sondheim as keynote speaker. His productions for San Francisco Opera's Western Opera Theatre and Seattle Opera have played in more than 20 states. Over the past eight years Field has directed 10 productions with the Arizona Opera, being deemed by the press "their most perceptive stage director." In February 2007, Field directed—at Oberlin and at Miller Theatre in New York City—the critically acclaimed U.S. premiere of Lost Highway, a dramatic music theater work by noted Austrian composer Olga Neuwirth based on the David Lynch film. This is Field's 11th season as director of Oberlin Opera Theater.

About Real Time Opera: Artistic Director Paul Schick
Under the artistic direction of Paul Schick, Real Time Opera (RTO) has presented world premieres of new operas in New York, San Francisco, and New England, where the company is based. In 2005, RTO premiered Feynman (2005), a chamber opera by composer Jack Vees, with a libretto by Schick, about Nobel Prize-winning physicist and cult figure Richard Feynman, with SO Percussion as the pit orchestra. The opera premiered at the Norfolk Chamber Music Festival and was reprised in Brattleboro, Vermont at Dartmouth College, in Concord, New Hampshire, and in New York at the Knitting Factory. A future online production of Feynman from Yale is in the planning stages. RTO's debut production, in 2003, was Korczak's Orphans by composer Adam Silverman and librettist Susan Gubernat. Based on the life of Polish pediatrician, orphanage director, and Holocaust martyr Janosz Korczak, the opera was also performed by New York City Opera on their VOX Festival of new American works. RTO's second production, Hawaiian Tan Ratface, a quasi-opera by John Trubee, premiered at San Francisco's Studio Z in 2004. Schick is librettist and producer of the forthcoming music-dance-theater piece A House in Bali by composer Evan Ziporyn, scheduled to premiere in Bali, Indonesia, followed by an international tour, in 2009. As an administrator, Schick has worked with Opera North, Boston Lyric Opera, the American Gamelan Institute, and the composers' collective Frog Peak Music. He earned a Bachelor of Arts degree in English from Hamilton College and a Master of Philosophy degree and PhD in musicology from Yale University.

The Oberlin Conservatory of Music, founded in 1865 and situated amid the intellectual vitality of Oberlin College since 1867, is the oldest continuously operating conservatory in the United States. The Conservatory is renowned internationally as a professional music school of the highest caliber and has been pronounced a "national treasure" by the Washington Post. Oberlin's alumni have gone on to achieve illustrious careers in all aspects of the serious music world. Many of them have attained stature as solo performers, composers, and conductors, among them Jennifer Koh, Steven Isserlis, Denyce Graves, Franco Farina, Christopher Robertson, Lisa Saffer, George Walker, Christopher Rouse, David Zinman, and Robert Spano. All of the members of the contemporary sextet eighth blackbird, most of the members of the International Contemporary Ensemble, and many of the members of Apollo's Fire are Oberlin alumni. In chamber music, the Miró, Pacifica, Juillard, and Fry Street quartets, among other small ensembles, include Oberlin-trained musicians, who also can be found in major orchestras and opera companies throughout the world. For more information about Oberlin, please visit www.oberlin.edu/con.

CALENDAR LISTING
Saturday, January 31, 2009, 8 p.m.
The Oberlin Conservatory of Music and Real Time Opera present
Leave Me Alone!
Libretto by Harvey Pekar
Music by Dan Plonsey
Josh Smith, music director
Jonathon Field, stage director
Live on stage:
Finney Chapel
90 North Professor Street
Oberlin, Ohio
Online:
www.LeaveMeAloneOpera.com
FREE
Oberlin Conservatory 24-Hour Concert Hotline: 440-775-6933

Harvey Pekar and Richard Thompson were both born today, supposedly years apart although I don't believe they've ever been seen together and never appear to be online at the same time. Happy birthday, gents!

(that's Richard signing his book at the Crafty Bastards fair. Pekar was nowhere to be seen, you'll note)

In spite of the evidence piling up, this isn't really a blog devoted to Harvey Pekar. I did run across something to mention today though. I've got a 248 page book devoted to Harvey out now as you're well aware, but, quoting from SMITH Magazine, in "Short memoirs: Six little words can be revealing," By Doug Mason, Knoxville News Sentinel Sunday, September 28, 2008, Harvey pretty much summed up the whole thing: "Fight, work, persevere - gain slight notoriety."

In case you do all your comics shopping at a comics store through Diamond's Previews, here's the ad.

Oddly enough, I ordered nothing beyond my usual pull list out of the December Previews. Given that I spent $250.00 at Big Planet at lunchtime today, this doesn't bode well for the comics industry.

Some nice stuff was out today though - Moomin vol. 3, the 2nd Aya book, Garry Trudeau by Soper, Terry and the Pirates vol. 4, Derf's Trailer Parks, Sub-Mariner Marvel Masterworks... one can see where the money goes.

...sure Mike Everleth's in the book, but you can trust his opinion. He's only got five pages and the book's more than 200!

Hopefully not in a series, but probably. Print this out and put it in the book.

On page xv, in the Chronology, under 1989 - "American Splendor: Bedtime Stories comic book published by Dark Horse." This actually occurred in 2000.

I regret the error.

I just got a stack of these University Press of Mississippi Fall 2008 catalogues in the mail, which was a surprise, as they hadn't told me anything about them. And they came with two pages of instructions on how to promote one's book (namely Harvey Pekar: Conversations. Obviously I need practice). Like on the web and stuff. So read the description in the scan below and then call the toll-free number or log into Amazon and order copies for yourself and all your friends, please. Thank you very much.