Tuesday, December 9, 2025

 

The Zombies, '60s Rock Music Icons,
Inducted into The Rock and Roll Hall of Fame.




Twenty years after first becoming eligible for the Rock and Roll Hall of Fame, and four nominations later (2014, 2017, 2018, 2019), The Zombies finally were inducted along with Roxy Music, The Cure, Def Leopard, Radiohead, and Stevie Nicks. The 1960s band featuring Rod Argent on keyboard, Colin Blunstone on vocals, Paul Atkinson on guitar, Chris White on bass, and Hugh Grundy on drums were honored alongside the current line up of Tom Toomey on guitar, Steve Rodford drums, and Soren Koch bass.

Their hit songs "She's Not There", "Tell Her No", and "Time of the Season" were being played on radio stations in the UK and the USA, but the band were unaware of their success and contemplating breaking up the group. But once the band discovered their popularity, they toured and put out a second album, "Odessey and Oracle" (1968). In 2015, The Zombies toured with former and current members to play their second LP in its entirety, a first for the band. Recently, they've just wrapped up a tour opening for Arcade Fire, whose members are big fans of the 60s band.

The Blog congratulates The Zombies on reaching this milestone in their career. Tom Toomey sent me these photos from that memorable night. I am most glad to share them with you readers and music fans alike.




The Zombies, members past and present on stage



Colin Blunstone & Tom Toomey



Tom with Rod Argent



Hugh Grundy (original drummer) and Tom



Chris White, original bassist with Tom



Cindy Da Silva Rocks Management and Tom



Chris Tuthill Rocks Management and Tom



Tom with Helen Atkinson,
representing the late Paul Atkinson



Paul Atkinson, (1946-2004)



Cory and Pam from Rocks Management


Bonus Clip


Tom Toomey also shared this video clip (see link below) from Rocks Management administrator Chris Tuthill.* In it, you can see Rock and Rock Hall of Fame Induction celebration on a cruise line with Norman Greenbaum singing a karaoke version of "Spirit in the Sky". Check out his back-up band.


https://www.facebook.com/chris.tuthill.10/videos/10157165874783453/

*"My surreal life is now complete. Not did I only meet Norman Greenbaum, but I got to hear him sing “Spirit In The Sky” karaoke on a Caribbean cruise ship. The chorus includes The Zombies’ own Tom Toomey, Linda Bassick of Mellow Yellow, and 2 of Pink Floyd’s background singers!" Chris Tuthill

Monday, December 8, 2025

 




The Poor Boy with No Cell Phone

The little poor boy attends his first concert

Ready with matches in pocket

His parents can't afford to buy him a cell phone

His father tells him of the good old days

When fans lit matches, not cell phones

And a beautiful glow filled the arena

When their favorite song played

Or a sad and famous song from the radio

Just like the one the band plays the opening notes to

And the audience cheers and claps

And hold up their lit up cell phones

And sway to the music and sing along

The little boy lights a match

And lifts the flickering flame as high as he can

But the fire burns his gentle fingers

He drops the match to the wooden floor

The small venue crowded with fans

Are obllivious to the small fire growing

They think it part of the show

But the little boy knows the danger and runs out

Unaware that the wooden venue burst into flame

Shouts and screams in the distant fade away

The boy catches a bus home

He sits by a window

And watches the glow of the flames

Crown the sky like a halo

Just like his father described. 

Sunday, December 7, 2025

 




Funereal Plots

Horror Cinema reviews

Matthew M. Bartlett



Eddington


Writer/Director: Ari Aster


You might say that it’s a stretch to classify Eddington as horror. But. The writer/director is the visionary behind Hereditary. And it’s about a pandemic—a little more visceral than Outbreak and its ilk because Covid is not exactly in our rearview mirror. The official classification is Western/Thriller, and the designation thriller overlaps often with horror. Certainly there’s nothing supernatural here, but Eddington tackles the horrors that men can do when caught in unprecedented circumstances.

Eddington is horror adjacent.


Typically when one refers to an actor as “unrecognizable,” it’s in the context of a tabloid talking about someone who’s aged, or put on weight. In this case, Joaquin Phoenix is unrecognizable because he truly disappears into the role of Joe Cross, the town sheriff, who is baffled and angry about Mayor Garcia’s (Pedro Pascal) decision to implement a lockdown and mask mandate, when there haven’t yet been cases in the town. Cross’s wife is a conspiracy theorist and his wife suffers from mental illness.

The kids in the town, scandalized by the murder of George Floyd and enraptured by social media, stage somewhat confused protests, muddled by white guilt and helplessness. Some of them attend for prurient reasons. To complicate things further, Garcia has a history with Cross’s wife.

Every line uttered, every shot in this movie makes it clear that it’s pointing us toward cataclysmic violence. When Cross is pushed (as he sees it) too far, he lashes out in irreparable ways, tries to cover it up, and then is the victim of a terrorist squad posing as Antifa that flies in to heighten, well, everything.

Eddington covers a lot of ground, maybe too much. There’s the western element, there’s satire, there’s (yes) horror, there are cult leaders and there’s abuse and conspiracy theories and explosions that kill and maim. The movie lost me, frankly, when the terrorist squad was introduced. That, for me, pushed it beyond the up-to-then plausible, realistic story of a town driven to madness by a confluence of crises social, historical, and epidemiological, and into the realm of hyperbole, conspiracy, and, frankly, fantasy.

That and the expected cries of too soon aside, Eddington comes tantalizingly close to being the definitive, incisive fictional take on the events of the early 2020s. It’s unpredictable, scathing, and smart. It overshoots, sure, but that doesn’t take away from its achievements. This is one worth watching more than once, if just to savor Phoenix’s visceral performance of a man snagged and torn apart by history.


Monday, December 1, 2025

 


Update 8A

Trauma & Therapy

Nightmares & Nightlights:
Waking and Sleeping States



The Gestalt Effect




Introduction:
As we delve deeper into the subject of trauma, we have to consider the matter of sleep and dreams. As I have researched PTSD patients, I found that a commonality among these sufferers was nightmares, but as I explored the larger study of dreams in the scientific community, I also found that everyone experiences more bad dreams than good. What was the distinction from nightmares based in trauma to those borne of a bad meal? The differences were quite startling.

In order to simplify the research, I've organized each portion into a coherent structure and titled each section. My three primary sources of information were "NIGHT: Night Life, Night Language, Sleep, and Dreams" by Oxford Professor A. Alvarez, the Psychology Today essays on dream by Patrick McNamara, PhD, and ILLUSIONS, Seasons One and Two, from the Curiosity Stream Channel, hosted by Professor Arthur G. Shapiro, American University, PhD in Psychology.Although I read other books and watched other documentaries on various science Streaming Channels, the information was redundant and my three main sources fit more conveniently with my own thesis on the utility of dreams (rather than the "meaning" of dreams, which was, has been, and still is a polemical topic of contention) on PTSD. I thought it best to focus my findings in the subject matter at hand, which is Trauma and (when possible in this essay) Therapy.


1. Sleep as Subjective

If we look back far enough, we can find that sleep was believed to be a rest period for the body and mind. After a long hard day at work and play, the body relaxed into a sleep state and the mind followed with a shutdown of neural activity. The muscles were replenished as the mind played in its dream states. Nowadays, we find that while the body sleeps, the mind is alert, operating at 50% capacity. Imagine a house at night with all the lights turning off as the family goes off to sleep, one room at a time; this would represent the mind and body. Once the body is at rest in sleep, however, the brain begins to turn the lights back on one at a time until half of the house lights are back on. Why does the mind wake up while the body rests? The answer is, It dreams.

What, then, are dreams?

Before we address that, let's consider what waking reality is. Reality is what the mind construes from neural input via all the sensory intake (sight, hearing, taste, smell, and touch). The alarm wakes us, we smell the coffee brewing, the radio plays some rock and roll, we eat scrambled eggs and bacon, and we feel the heat from the hot summer day as we begin our day. We see clouds, feel humidity, hear the traffic backing up on the freeway, smell the exhaust from the older cars, taste the burbs of bacon and coffee, and so on and so forth. We gather information from our environment. The intake is stored in the brain as memories. In our waking state, we refer to memories to make decisions to deal with possible new neural input. Those clouds look like they may bring rain by late afternoon, so we carry an umbrella. We make sure the umbrella is sturdy because the winds that brought in that cloud-front may turn the umbrella inside out (as we remember from older memories of buying cheap umbrellas for what turned out to be a vicious storm that eats umbrellas for lunch. We utilize our memory as a resource to ascertain the possible experiences that are most likely and plan accordingly to deal with them. That smile from the co-worker seemed a bit friendly. Maybe today we can ask her out. We experience sensory data, add it to our memory bank, collate the data, and plan our next course of action. It's called the waking life.

In dreams, the waking life is 50% turned off. There is no new neural input. As the body rests, the mind works as half capacity to access the memory bank to continue to ascertain possible new neural input and make plans to anticipate that possibility. Only the mind does not add new input to the memory to make decisions and determinations about a course of action. Instead, the brain accesses the current and older memories and create new memories by combining previous memories. Since there is no new sensory images, the brain makes images from multiple images already in the memory bank. The memories of memories are what we know as dreams. The mind lives a waking life by recreating new memories, that is, new images of a pseudo-waking experience based only of memories, with recent memories taking priority but with older memories that correspond to the new memories combining to form that new memory. For instance, we fall asleep, slip into a deep sleep when both the body and mind turn off, that is, rest. Then the mind turns back on and turns half of the lights in the house back on, or more specifically, it accesses the memory bank because there is no new neural input coming from the senses.

Let's follow one pattern. We go to bed, fall asleep, access the memory bank, and dreams begin (commonly known as Rapid Eye Movement, because the eyes move back and forth as they follow the memories of some activities, like watching a ping pong match or a football game). Before we went to sleep we watched a horror movie with a chainsaw wielding madman. Once REM sleep emerges, it may (or may not) access the chainsaw killer; it may access the element of fear we experienced during that scene of brutality, with its accompanying buzzsaw noise and screaming victim. Or it may put you in the point of view of the killer. There is not much research about how and why dreams start where they do. But once they do start, the next step in the dream is corresponding the memory of whatever starting memory triggered the dream--let's say you have the killer POV. Your mind now associates this new memory of your being the killer with a memory of a possible victim from the memory bank. Perhaps a bad boss from a previous job that you were fired from. Now you are chasing your old boss with the chainsaw. The chase is the new memory from the old memory of the boss combined with your mind's new take of this POV. The chase can then connect to other possible victims from your memory associations with people you similarly do not like, people like your boss, as your mind collates the old memories to add to the dream sequence and keep it moving. This association and new memory development continue until your sleep cycle reenters the deep sleep state, where your 50% mental collation shuts down again until the next REM cycle comes round.

In essence, that is dreaming. A cycle of sleep surrounded by a cycle of dream collation. What's amazing about this cycle within a cycle is that all the new memories are stored with all the routine waking memories as well as the older experiences. Which is why when we dream, we can pick up on an old dream sequence because the mind associated real memory with the dream memory. Our memories of dreams are as real as our waking memories, and so too are our new memories created from the new memory combinations.

So, where does the subjectivity in? Well, one man's dreams is another man's nightmares, and vice versa. Just because the body rests doesn't mean the mind rests; and if the mind does not rest, the body does not rest. Let's look back at our chainsaw killer again. If you kill all the bad people in your memories, you will feel relieved and wake up refreshed (whether or not you recall the dream). However, if you murder all those terrible people in your dream and wake up feeling guilty, your body will feel tired, and with a tired body comes a mind bothered by headaches, fatigue, or depression. You may dream of finding the perfect mate in a dream and wake up sad for the pathetic love life you have in waking. Many people will be happy in the dream and wake up happy, but this is not a given. It is also possible to be happy in REM sleep and awaken angry or bitter or regretful. Each individual responds to dreams in different ways in the waking world.
 
Thus, we must treat sleep as subjective. Some people like nightmares and wake up full of stories to share, while others will have good dreams and feel exhausted from the boring experience.


2. Sleep as Objective

When we think of sleep and dreams as objective, we must turn to the experiments where empirical data is collected to determine the electro- and bio-chemistry of the brain and nervous system. Patrick McNamara, in his many works on dreams, has written on the concrete findings on the "problem of the nature and function of dreaming. His initial interest in dreams was on how dreams represented the self or the ego of the dreamer. The self in dreams often displays a striking lack of insight" (from "What Dreams Are Made Of: Understanding Why We Dream" By Patrick McNamara, PhD, Columnist at Psychology Today). McNamara argues that dreams play out the same biochemistry as waking thinking but without the organization. It is not unlike daydreaming gone awry. When we fantasize while awake, we control the flow of neuro networks; we can create new thoughts from scratch or tap into the memory bank for inspiration. Remember, in REM sleep, only 50% of our memories and biochemistry is at work, thus limiting our dreams to fantastic and unreal experiences where fictions like flying can be experienced. In the waking state, we do not experience the daydream; we imagine it (as in create an imaginary scenario). Of course, we can fly in a daydream, but the sensation of flight eludes us because the mind at 100% working capacity "knows" it is not real. At 50% capacity, the mind believes we are really flying and we experience a corresponding sensation, the sensation missing from imagined scenarios.

In other experiments with humans, scientists monitored volunteers who slept inside an MRI scanner while hooked up to EEG electrodes that measured brain wave activity. When the EEG indicated they were dreaming, the participants were awakened and asked what images they had seen in their dreams. The investigators were later able to match certain patterns of brain activity to certain images for each person. “There’s a crude correspondence between the brain scan and the image. Despite the primitive state of this dream decoding, the ability to actually glean content from a dream is getting closer" (Dreams, McNamara). The hippocampus stores memory. The neocortex associates memories to each other. Beneficial sleep stores memories. Bad sleep does not store memories. It strengthens healthy memories and stores new memories into the healthy dream matrix while new memories that contradict the healthy matrix are discarded or overwritten like a computer deleting unnecessary files. In other words, the empirical study of dream and sleep suggest that adverse memories are incorporated into dreams in a healthy way while any memories that do not fit with any other dreams in a healthy way are discarded.

Nightmares can thus be beneficial of one's mental health as much as good dreams can hinder the healthy growth of the healing mind during sleep. For instance, if I remember my college years as good times, they will be stored in the hippocampus as positive emotions. In sleep, the neocortex (which does not experience new memories) turns to the hippocampus to interpret the most recent memories. If during my normal day, I have a pleasant experience at a restaurant, this recent memory may be used by the neocortex in association with the cafeteria memory from college. Even though my dream shows me eating at the college cafeteria, the trigger here was the restaurant memory from earlier that day. The dream may then shift between college and other memories of the campus, but at all times, the neocortex is merely recording the pleasant emotion of my restaurant experience in terms of the emotions stored in the hippocampus. The commonality is the emotion of both restaurant and cafeteria. Within the dream, a new memory is then created, namely, eating at restaurants is pleasant. The setting is the experience in the dream. The particulars then conform to the setting, as far as whom I'm eating with, what I'm eating, the music on the jukebox, and so on. When the particulars conflict with the setting, the nightmare is a failure of the neocortex to recreate linear pleasant memories from the day's events. The rude waitress at the restaurant doesn't fit the setting of the college cafeteria. Therein lies the bad dream state and the bad rest of the sleep outcome.

Other studies involve the use of animals and birds to correlate sleep patterns. Birds have similar REM sleep to humans so their sleeping brain waves are aligned enough that studying the Canadian goose has been helpful to understand human dreaming (The Science of Sleep, 2015 documentary). For example, in research with rats trained to run through mazes to get rewards, investigators were able to record neuron activity in sleeping rats and determined that the rats were running the same mazes in their dreams. This type of study corresponded with research on sleep memory with infants. Babies at two to three years of age were held on the laps of their parents while researchers show the children a stuffed teddy bear doll wearing a mitten. The doll was held in front of the children, the mitt was removed and shaken, then replaced on the arm of the doll. Half the kids were then set down to nap, while the rest were given another toy to play with. After nap time, all the children were shown the same doll. The children who napped "all" took off the mitt, shook it, and replaced it on the arm of the doll. "All" the rest did not replicate the removal and donning of the mitt. Just as the rats who slept ran the maze after sleeping, the children who slept succeeded in remembering how to work the mitt. These empirical studies showed that a brain that dreams vitalizes the memory pathways, while brains that lacked sleep did not have the memories at hand to work with.

What’s been discovered so far, however, suggests that such studies could reveal an enormous amount about what role dreams play in our lives, and how important they are for biological, psychological or social reasons. With this research, McNamara believes, scientists can find out if what shrinks have been saying for years is true — that reflecting on our dreams is useful and can give us insight into ourselves. Psychologists say so, and many people think so. But this research, he says, gives us the potential to know.

Such investigations could also reveal more about nightmares, and potentially lead to ways to control or avoid them. Knowledge in this case could lead to the right therapy for trauma sufferers by deconstructing the nightmares biochemically and empirically prior to counseling or treatment. Then, maybe, Shrinks would not be so reliant on drugs to deal with trauma.


3. The Problems with the Brain

The problems with the brain affect the experiences within our daily memories and the recreated memories of the neocortex. The primary issue with memory is the manner in which the perception of the object of the memory is recorded. I see a woman walking toward me from afar. As she nears, I see it is a man with long hair. How would the memory be stored if I never learned it was a man. I see the shadows on the moon and make out a face looking at me. I hear someone say, "Anthony, go home." Later, I hear the same person say "antilom". The hippocampus has already stored the memories as a "lunar face" and as someone telling me to go home. The neocortex does not distinguish "errors" of memory with "real" memories. Thus, both types of memory play a role in dreams. The woman at a distance, the face on the moon, the voice telling me to go home become as real as the memory of the first time I burned my fingers on a lit match.

For instance, I remember when I was a boy playing in the attic of that old house where we lived in Boyle Heights. There was a small window that I could fit my thin frame through to reach the rooftop. When I tired of playing in the stuffy attic, I climbed onto the roof via the window. Once a huge blimp (not unlike the Goodyear Blimp) passed overhead, so low that I could tip-toe and reach up and touch it. The memory of the attic is real, as is the  window, and the roof. Problem is, I don't remember when the blimp became part of the "real" memories. I know now that it would be impossible for a blimp to fly so low, what with the telephone pole wires and huge trees around our two-story house. Yet to this day, I still dream the same sequence of events, from playing in the attic, climbing through the window onto the roof, and reaching up to touch the blimp. The memory is as real as my youth growing up in that house. Still, I know it didn't happen. But it is a real memory just as real as the house itself.

So when did the extended memory include the blimp? How did that become a part of my reality of memories? The answer lies, of course, in the way the brain works. At this point, we will now turn to the problems with perception of the brain and the common ways that false memories become real memories. We turn to "Illusions" by Professor Arthur G. Shapiro, American University, PhD in Psychology, for our thesis; he states, "An illusion is a perceptual or cognitive experience that does not match the physical reality (namely, the perception of motion where no such motion physically exists)." Reality does not change, our brains are trying out different configurations to figure out what reality is. The views of reality change. The brain changes. Reality is constant, and as we've discussed earlier, subjective, not objective. Misread memory in dreams is as real as, well, "real" memory.

In one misreading of the brain, Kokichi Sugihara, a Japanese mathematician and artist, refers to an illusion that can only be seen from a singular point of view, which he call the "accidental viewpoint". Here is an example:


The Sugihara Cylinder


In the foreground, the object appears as eight triangular figures, while the same object in the mirror in the background, the same object appears as six cylinders. Sugihara found that our brain will interpret objects based on perspective; change the perspective, and the interpretation will change as well. The object was designed to appear as triangles from one perspective and as cylinders from another perspective; however, when the object in placed before a mirror, the brain sees two distinct images, two different objects. Yet here is the actual object the mind is seeing (without interpretation):


The Ambiguous Cylinder


Note that neither the triangle or circular shapes can be seen here, and yet, both are there. Which, then, is the true object? The waking mind will store the memory as only one image, not both. But the sleeping mind can dream both images because the neocortex can replicate the mirrored images as a new memory. You will remember the circle or the triangle, but the dream will create both as the ambiguous figure above.  

Let's look at another ambiguous image. This one by Akiyoshi Kitaoka,  a Professor of Psychology at the College of Letters, Ritsumeikan University, Kyoto, Japan.


The Kitaoka Effect


When you gaze upon the Kitaoka image above, you should experience the sensation of motion, even though the image is fixed and two-dimensional. As one who has experienced this effect while driving, I can tell you the effect is quite scary. While waiting for the red light to change to green, the car next to me may move, but my mind believes that I am moving and I slam the brake. Then I realize my foot never left the brake pedal and that I wasn't moving at all. Still, my queasy stomach says otherwise as motion sickness kicks in. The motion was real to my mind and body, but it wasn't real in reality. 

Here's another scary image for your consideration. 





Remember, the movement you experience is only in your mind, not in reality. The colors of the squares alternate between blue and yellow so that it appears that the blue and yellow squares are shifting positions, but your brain perceives motion. Focus on one square and watch it change color, back and forth. With all the squares changing color, it appears a sequence of motion is occurring rather than a blinking effect of alternating colors. The more you try not to see motion, the more you see it. 


In addition to perspective, ambiguity, and motion, there is the problem with grouping. Our brains tend to see groups of images, such as dots, lines, colors, shades, shapes, and so on. Look at this grouping below.


The Grouping Image


Do you see the dark and white areas in any pattern? Your brain will fight to perceive "order", but if it fails to make something objective in this chaos, you will only remember the dots, blotches, and thick shadows. However, some, if not many, of you will discern order and see the dalmatian dog. See below.



The dalmatian in purple shading. 


When the brain cannot see the dog, it remembers only the chaos of the black and white spots and blotches. But once it sees the dog, the chaos is gone, and the brain remembers the dog always. In this instance, the dreams based on chaos may inadvertently see the dog, while many may argue that it is because of dreams that we see the dog through the chaos. Still, let's not forget that the memory of chaos may also simply be viewed in dream form as dots and blotches without order. Such is the problem with the brain and objective chaos. Sometimes we see something that isn't there, and sometimes we don't see the something that is there.

The last problem with the brain and its interpretation of reality is dualism. What happens when there are two objects there at the same time? The brain is wired to only select one reality. It's a she loves me, she loves me not world, and the brain will choose what is real. All the subjective and objective coaxing will prove futile; only the brain can select what your reality is. Case in point, the dualistic object. Two images that make one. Here are a few examples that are quite popular, so I will not discuss this too much. They should be obvious. But we all know "obvious" is a loaded word.



Trees or old men?


Front room or forest?


Cavern or builders?


In these images above, there are two interpretations available. This is known as the Gestalt Effect. And the reason I saved this brain problem for last is because these images are the closest we have to how dreams work. There is only one image for each of the three images above, but the mind chooses one interpretation per image. In dream, the brain adds a new image (neocortex) to an old image (hippocampus) and creates a third image with elements of the both the new and old. Just as we can see a cavern or builders in the above image, we are actually seeing both at the same time and neither at the same time. When we see one, we don't see the other; when we see the other, we don't see the one; yet the one and the other together make dreaming possible. The brain is constantly trying to overcome its problems of perception, whether in the waking state or the sleeping state.

For the victim of trauma, it is mostly the waking state that therapy concerns itself with, but I would like to continue to pursue the sleeping state, namely the dream state, in our next update, part 8B, where we will have a guest dream interpreter analyze a handful of dreams sent in to the blog by current PTSD patients. Until next time, thank you for visiting.



 The Marc Hempel Interview: Of Mice & Madness


Conducted by
Anthony Servante



The Marc Hempel



Introduction




The Gregory & friend


"Gregory" is locked in a cell all day, arms in a straitjacket. His best friends are Herman, an arrogant sewer rat who occasionally dies to resurrect shortly thereafter and Wendell, an extremely cheese-addicted mouse. 

Gregory looks at the world around him with the innocent naivety of a toddler. What is it like to live like this? More fun than you can imagine - especially if you're one of the "outside" who has to deal with the stress and bustle of the treadmill called life day after day. 

Gregory by Marc Hempel (draftsman Sandman: DIE GÜTIGEN) is one of the few comics in which the method has madness. How many stories can you tell about a boy in a madhouse cell who can not even talk properly? 

Hempel provides countless variations of happy lunacy in which rats and cockroaches are welcome guests, but only disturb caregivers and therapists. Black humor with deep black heart. [From Amazon].




Biography,
Marc Hempel: 

I'm a freelance writer, illustrator, and cartoonist, best known for my work on The Sandman with Neil Gaiman; Mars, Blood of the Innocent, and Breathtaker with Mark Wheatley; my humor titles Gregory and Tug & Buster; and full color cartoons in MAD Magazine and Nickelodeon Magazine. In 2007, I created the art for a 21-page Escapist story that was finally published in the new trade paperback Michael Chabon's The Escapist: Pulse-Pounding Thrills (Dark Horse Books). In my spare time, I drum in a cover band that plays vintage rock & roll.

Contact and Goodies at these links:

http://marchempel.com/

https://teespring.com/stores/shirtshow-2

https://teespring.com/stores/shirting-the-issues


Gregory on a rare walk




The Interview:


Anthony: B
efore Gregory, what were you up to?

Marc:  Well, I grew up in the Chicago area, and began writing, drawing, and painting at the age of two, and continued on this creative path through high school, where I won some awards. I later graduated from Northern Illinois University (with a BFA in painting) and moved to Baltimore, Maryland to join Mark Wheatley at Insight Studios, where I endeavored to earn a paycheck from my passion. After getting some attention with comic strips for newsstand magazines like Questar, Epic Illustrated, and Heavy Metal in the early 1980s, I found myself collaborating with Mr. Wheatley—mostly happily and successfully—on the comics series Mars and Blood of the Innocent. Then, circa 1986, Mark and I were asked to be the regular art team for Comico's Jonny Quest comic book.

Jonny Quest



Anthony: How did that lead to Gregory?

Marc:  Mark and I were both fans of the animated Jonny Quest TV show, which was airing in prime time in the sixties, so it was initially a great honor and pleasure to be working on the comics series. For me, however, the novelty wore off quickly, and I was becoming increasingly frustrated on a creative level. I wanted to do my own stuff again, and in a big way! My own indoor-life-by-choice-of-livelihood inspired the original version of "It's Spring!," which appeared in Honk! magazine (Fantagraphics, 1986) and featured a taller, ganglier version of the character that was soon to become Gregory. Several months of development led to a book proposal and the eventual sale of the property to DC's then-new Piranha Press imprint in 1988.






Anthony: Can you give new readers some basics before they jump into the Gregory universe? Unless you prefer readers jump in feet first.

Marc:  Basically, just jump—in whatever manner feels right! And the "universe" is essentially just a cell in a psychiatric hospital, so it's nothing terribly daunting. That said, the basics (for the sake of this interview): Gregory is a patient in said hospital, a little kid with a big head who wears a straitjacket, has an acerbic rat friend named Herman Vermin, and speaks mainly in vowels. He runs around screaming in a manically mirthful manner whenever it amuses him. Gregory's cell is truly his universe, and most of the time—e.g., when doctors and therapists aren't trying to "cure" him—he's quite happy there. The stories (of varying length) are sometimes poignant, usually humorous. Stupid puns abound. There are four books, as originally published. Alas, the full size, original editions are now out of print!


Anthony: Can we view Gregory as a satire or is it best not to overthink the comic?

Marc:
  A satire, certainly. A sociological, psychological satire of sorts. That said, the series is probably more enjoyable if one doesn't take it too seriously. A lot of silliness ensues. And, annoyingly, alliteration.


Anthony: As I'm currently working on a series on trauma, would you recommend Gregory as therapy to get your mind off your problems? 

Marc:  Well, working on Gregory took my mind off my own problems, so I'd think there would be some benefit for readers as well! For what it's worth, I'd also recommend petting cats and listening to Django Reinhardt.




Sandman artwork by Hempel
Very therapeutic


Anthony: What comics and comic artists, old and new, feed your unique imagination?

Marc:  Among those who have inspired or influenced me at one time or another: Winsor McCay, Cliff Sterrett, Lionel Feininger, George Herriman, Roy Crane, Elzie Segar, Milton Caniff, Crockett Johnson, Walt Kelly, and Charles Shulz from newspaper comics ... Harvey Kurtzman and Will Elder from MAD ... Frazetta and others from Warren magazines ... many New Yorker cartoonists and cover artists ... Hergé ... Will Eisner, Alex Toth, Steve Ditko, Jack Kirby, Neal Adams, Jim Steranko, and Bernie Wrightson from comic books ... Jim Woodring, Lorenzo Mattotti, Chris Ware, Art Spiegelman, and José Muñoz from more recent years. Alas, I don't keep up with current comics.


Anthony: Any suggestions for artist novices looking to break into comics?

Marc:  Use a crowbar. Seriously, though, I have nothing pertinent to offer, as the industry has changed so much in thirty years. Some creative advice, as that's more my forte: Learn the ins and outs of drawing at a good art school, focus on effective visual storytelling (as opposed to rendering pretty pictures), and make expression of character and emotion a priority. Importantly: "Be yourself; everyone else is already taken." ―Oscar Wilde


Marc at work. 



Anthony: I couldn't help but notice that Gregory is in black and white. Is that your choice?

Marc:  Yes, it was. I love black and white—my two favorite colors! Stark and expressive. Color, in this case, would have added another level of visual complexity that offered little or no utility in terms of serving the story. It certainly wouldn't have made the jokes funnier. I also wanted to create a feeling of drab dreariness for Gregory's world, so any colors would have been muted tones, anyway. That said, I did intend for portions of "Out" in Gregory III to be printed in full color (to contrast with the grays), but DC nixed this because of added cost. The story does appear as intended in a lovely German hardcover collection.


Anthony:  What's the future hold for Gregory and you?

Marc:  At this point, an animated TV show would be nice!


*********************************

A special thanks to Marc Hempel for taking the time to meet the Servante of Darkness readers. I've been a big fan for years. And years. Now it's your turn. You're in for quite the journey!


The Gregory Treasury Volumes 1 & 2 
by Marc Hempel are available here on Amazon.





For all other comic artwork (Jonny Quest, The Sandman, Gregory the Third, and more) 

Monday, November 24, 2025

 




Description: Explores the raw energy, rebellion, and liberating impact of Britain’s 1976–77 punk explosion.

Punk: the filth and the fury. But it was so much more than that.

In The History of Punk Music, author Stephen Palmer depicts the punk rock explosion of 1976-77 in tired, bored, and socially stratified Britain. Emerging from the litter-strewn streets of London, punk’s music expressed the suppressed anger of young working-class people with nowhere to go and nothing meaningful to do. Its music was raw and shocking. Its fashion mocked staid middle-class values. Its art was expressed in cut-outs and by sprayed graffiti. Yet beneath this sudden explosion, frightening to those of the establishment who witnessed it, incomprehensible to white-collar workers commuting to and from work, lay a philosophy of individual creative expression and an ethic of anti-racism and liberation for women.

Punk in its original form was a movement of human liberation, a Year Zero moment in the history of a nation more used to colonial exploits and a vast empire. It spoke of fury, of hopelessness, of cathartic anger expressed through visceral, exciting, revolutionary music. Its visual images captured the gaze of the nation, and soon the world. And all of its central figures yelled, hammered and smashed the doors of the Establishment.

This book charts the origins, appearance, development and ending of punk. It is a book of passion and vivid description, befitting the individual visions of the original punk musicians.

Punk was filthy and furious, yet it was also a new dawn for the British music scene.



Author: Stephen Palmer is a professionally published author of thirty years, whose work has garnered much acclaim in genre, independent, and national press. His books have encompassed SF, Steampunk, and in narrative nonfiction Anthropology and Music. He was the man behind the psychedelic group Mooch, and the real world project Blue Lily Commission. He lives in south Shropshire with his partner and an unfeasibly large number of musical instruments.




Review: I was there. The day The Sex Pistols' God Save the Queen 45 rpm arrived at my record shop. I bought it. Played it loud so my neighbors could hear it. So my rock and roll friends could react to it. What is that? It's the new Rock, I'd tell them. That's not Rock, they'd reply. But they listened. And have continued to listen till today. Punk. Post Punk. Retro Punk. Hardcore Punk. But through all the changes, Punk remains the music of its day, a singular music for a singular era. The seed before the tree. And that's why "A History of Punk" by Stephen Palmer is so important: It reminds us of when and where it all began.


The Single

It is tempting to want to recap the book and compare notes from America about our Punk Movement on the Eastside of Los Angeles, but that's how enthralling Steve's recounting his perspective about the UK Punk Movement is that I want to say, So that's what inspired the roots of the Punk Scene. The book is not erudite research; it is a lived in community that an insider shares with outsiders looking in. It is not cold calculation and pedantic footnotes; it is a voice that echoes the beginnings of Punk because Steve celebrates the birth and growth of the Movement. And he does so with references to real times, places, and bands from his memory, his experience, and we listen to the words with envy, but also with pride, because, yeah, I was there too, but over here in Los Angeles. Reading A History of Punk is not nostalgia; it is being there buying and listening to God Save the Queen by The Sex Pistols all over again as if for the first time. 

Sunday, November 23, 2025

 



Crowfield by Dani Brown

Reviewed by Anthony Servante


Author: Suitably labelled “The Queen of Filth”, extremist author Dani Brown’s style of dark and twisted writing and deeply disturbing stories has amassed a worrying sized cult following featuring horrifying tales such as “56 Seconds”, “Becoming” and the hugely popular “Ketamine Addicted Pandas”. Merging eroticism with horror, torture and other areas that most authors wouldn’t dare, each of Dani’s titles will crawl under your skin, burrow inside you, and make you question why you are coming back for more.

Book Description: "At the end of the motorway, underneath the orange sodium light glow sits Crowfield. Parts of the council estate were claimed by the marsh before the first residents moved in.
Creatures lurk in the shadows. Their mummified toes poke out of their leather boots. They spread frost with their breath and bring death to Crowfield’s residents, young and old.

They don’t bring death to Spencer. They bring something worse. Eternity on the estate wrapped up in a golden brown spell cast from the end of a needle. Spencer needs to reach the only phone on Crowfield that works. He can phone his father and convince his father to rescue him.

Nigel takes the call, but Spencer is still just a baby. He hasn’t told anyone about Spencer. He hasn’t told anyone of that night he spent with Joyce in the bowels of Crowfield. Only her cat knows he was there.

A white cat stalks the rats and crows of the estate, watched by the scarecrow on the green. The scarecrow watches the ferns and heathers spread and the orange orb lights flicker on over the marsh.

Beneath each orange orb is another creature waiting to climb out and help Joyce make another scarecrow to hang on the green."


Review: In Crowfield, Dani Brown has written a living, breathing nightmare that pulls the reader in and from which the reader will not want to wake. By choice. Often in my dreams, even the bad ones, I visit horrible places that I refuse to leave for as long as sleep will allow. From Dani's story (if that is what this surreal horror can be called), we enter a place inhabited by scarecrows, mutant roaches, shadow creatures, and all manner of unseen terrors. But it's such a memerizing world, we are easily captivated while simultaneously be repulsed. 

Using beautiful prose to convey gruesome horrors, Dani creates a haunting and visceral tale that is more than just a story. It is an experience that is full of color, sound, and smell, used to full effect by the talented writing style Dani utilizes; she creates a depraved landscape where urban decay becomes alive with monstrous creatures both big and small, neon and dark, sulphorus and chorine, and alluring but dangerous. The language makes Crowfield work and rewards the reader with a very frightening but enchanting horrorscape. 

As an aside, I must point out my favorite sequence in the book: the vloggers visit to Crowfield. What I liked was the inversion of the narrative: Crowfield narrates the arrival of the vloggers, describes their predicament, and initiates their ouster. The vloggers merely respond. And, yes, there are many sequences such as this. 

Whether you read the book in one sitting, or savor it over a week (as I did), you will enjoy Crowfield by Dani Brown. Either way, the experience will stay with you like, well, a lovely nightmare.