OS POSITIVOS

product placement

(com três graus de cheirinho)

Continuando de arrumações e genuinamente admirados do quanto de arranque às teses já estas estavam escritas (*) Ie, somos bons. ainda as coincidências: hoje limpámos o “Publicidade” out 2016, sistemas de opressão com um extra final na remoção das estátuas dos confederados. Para precaver o link rot que ameaça o arquivo de conteúdos online (*) unFun fact: ao rever as teses tropeçamos em tantas ligações entretanto desaparecidas que só podemos dar graças ao menino jesus por fazermos cópias locais de tudo o que é bonito manter à memória. no final desse rippámos uma curta de Mike Dawson onde retrocede do presente a passados cada vez mais distantes sempre numa mesma relação sistémica. Passam-se 4 anos e o TCJ publica um longo ensaio no mesmíssimo tema, “Comics Against Confederates: Black Lives Matter and the Battle for Graham, North Carolina” 30 set 2020. O autor descreve na primeira pessoa o ambiente de crispação no embate entre os racistas de serviço aos arianos eleitos em funções públicas vs o mix de anti-confederados do BLM aos antifas a distribuir biscoitos veggies.

I was not yet aware of the role I was being cast into.

I wasn’t expecting anything more than what I had seen in other area towns: a White man with a rifle and a mustache, made out of stone or bronze, standing atop a tall pedestal, with gushy Lost Cause half-truths carved into the base, in front of a Jim Crow-era courthouse at the center of a pandemic-depressed downtown, surrounded by hot air. I was wrong. The city was practically under martial law.
in "Comics Against Confederates: Black Lives Matter and the Battle for Graham, North Carolina" 30 set 2020

Igualmente saídos de politics, punx, nazis, publicitamos à leitura com mashup curtíssimo que poderíamos rapidamente esticar muito mais além para registo permanente:

Who knew that you have to “get out of your house and into the streets” even to be a comics critic?

As someone who writes mainly about art, I have naturally gravitated to the activities of one group in particular: Forward Motion Alamance. They caught my attention specifically because of their comics. [...] The drawings, statements, poems, and comics in this 24-page xeroxed, stapled zine—all composed by local Alamance county artists—address such issues as racism, allyship, smart protest conduct, the Klan, and the police.

Beyond those examples, the only two comics-related items I know of related to Confederate monuments are a few years old. Ben Passmore’s reportage piece for The Nib, “Takin Em Down” (February 2017), is bound to become canon. Another interesting piece is George Porteus’s one-page “Shapeshifter,” drawn for Lumpen Magazine in the spring of 2017.

FMA’s comics are obviously less polished. One might even call them crude. But that is partly what I like about them. They are raw and earnest in that ‘80s, black-and-white indie comic kind of way, while making the issues hyper-local and specific. Often whipped together quickly for a protest, FMA’s comics wear their urgency on their sleeve. They are made for the street, which is precisely where I first obtained one.
in "Comics Against Confederates: Black Lives Matter and the Battle for Graham, North Carolina" 30 set 2020

E, porque sim!, últimas notas ao propaganda in motion, on tha cheap side, com entrevista ao Nikki Dixxx da supramencionada FMA a colocar o seu produto onde importa.

FMA’s comics are distributed by hand at protests

With Nik bringing in art and comics with the education potential they have, that’s really what makes Forward Motion special, I think, because we have this propaganda branch to sell merch and make money to fund what we do. Other groups have reached out to us precisely for that reason.

[RH] Tell me about your comics for Forward Motion.
[ND] I decided to make the first comic because sequential art is such a good medium for conveying ideas to all sorts of people. There’s a lower barrier and you can get a lot of information across quickly.

[RH] Can you tell me about the production and distribution of those?
[ND] I drew them, I printed up as many as I could at a friend’s house, then we printed up some more until that ink disappeared too. I passed out some master copies to people and said please copy this and give it to people, and now I’ve been sending out the files to people as well. I am hoping they have a life of their own.
[RH] All your printing is xerox?
[ND] Yep. (...) Essentially, we want to print them as cheaply as possible to make enough money to print more to give out for free, if that makes sense.

[RH] Do you read a lot of comics?
[ND] I still take a dip when I can, but not very often. Comics are so expensive now.
in "Comics Against Confederates: Black Lives Matter and the Battle for Graham, North Carolina" 30 set 2020

Vinte-vinte e cada vez mais na ordem do dia.

E porque somos (apenas) humanos, depois do Trumpas e os seus meninos orgulhosos menção honorável à crítica nacional que tb hoje nos entreteu nos entretantos de outros afazeres totalmente não relacionados: a banda desenhada para crianças por Pedro Moura, André Oliveira e Gabriel Martins. Ressalva: Gabriel Martins é-nos completa incógnita, desconhecemos-lhe obra, percurso, dizeres. Poderíamos talvez pesquisar, mas porquê estragar uma coisa boa? Dos três será assim o que menos ressentirá publicidade não solicitada entre os P+.

Ora,

Contrariando a suposta facilidade de comunicação da banda desenhada atrás elogiada e totalmente desarraigada do confronto entre supremacistas brancos intentados a abrir uma guerra de raças e militantes anti-fascistas, destacamos da peça o excerto imediatamente a seguir à exposição do apresentador da presente edição, o qual — shock! ò libtards que nos lêem — explana por posições quiçá mais tradicionais do que expectável exigindo disclaimer (“espero que não me confundam com um tipo qualquer católico com uma moral conservadora”), estendendo a sua compreensão à aversão de alguns pais contra “cenas de alguma violência que às vezes é mesmo extrema”. Contextualizados qb, enunciada a escassez de BD para os mais pequenos no mercado nacional e propondo-se debruçar sobre a dita, o nosso highlight à banda desenhada infantil para “crianças, pequeninas, que se sentam ao colo” arranca assim:

"Episódio 19: BD PARA A INFÂNCIA" 29 set 2020

Podíamos discorrer do $$$ e comics — ver no original quanto o ka-ching! vem à baila — mas preferimos apontar ironias a outras leituras:

Publicidades feitas, retornamos emissão com pontes entre duas peças aparentemente estranhas entre si pelo exemplo inicial:

In the meantime, we have Nikki Dixxx’s little comics broadside. It represents the potential of Wyatt Outlaw’s story, not just for local counter-history initiatives, but for crafting a progressive, revisionist pop culture that a wider audience might enjoy and learn from, including kids. I may have never learned about Outlaw otherwise. Same, I assume, for the vast majority of readers of this essay.
in "Comics Against Confederates: Black Lives Matter and the Battle for Graham, North Carolina" 30 set 2020

Banda desenhada dos 7 ao 77 de olho nos 88, nunca paremos de rufar os mesmos tambores.

bófia