Listening back to this interview tape, a chilling moment occurred at the end when, after Buckley had mentioned Lenny Bruce several times, I noted that Bruce had a reissue album on the charts.
The idea that Bruce could have a posthumous hit cracked Buckley up but good. Goldmine: Tell me about the management and record company changes that are going down at this point. Tim Buckley: Right, preferably one where one man makes the decisions. The first record company I signed to was Elektra and it was Jac Holzman that made it all happen. Talking to one man is really phenomenal, knowing that something is going to be done.
There are large companies where one guy does it: Ahmet Ertegun at Atlantic, Clive Davis at Arista, the ones that have a genuine concern for the artist. Tim Buckley: Jac sold the company. When he left Elektra, a huge gap opened as far as quality in the music. Have you ever met anyone who could successfully explain his music at any given time? Tim Buckley: Uh, no. Goldmine: What sorts of artists were you listening to when you started getting your music together? Tim Buckley: Well, I was never a folkie.
I was always rooted in African rhythms. I still listen to Duke Ellington; all those people playing together as a quintet is just amazing to me.
That takes great writing and a great understanding of the people in the group. I pretty much went on that principle with the quintet; I try to understand the people that work for me as well as he did his. He would write for what they were good at. Tim Buckley: Through dance groups and people like Olatunji. Also, working with Carter C. Collins , my conga player. I just happened to play there a couple of times. I was from New York and Washington, D. At that time, the folk thing was really booming and the kids in the suburbs needed guitars; it was very important to be just like the Kingston Trio or the Limelighters.
So I was buying up these Martin guitars at downtown L. Now those kids are probably lawyers or wiretappers or whatever. I found a few clubs that served sassafras tea and coffee that were actual coffee houses with no liquor so a brat of my age could play there. Tim Buckley: Uh-huh. Beckett was a drummer and we had a guy named Brian Hartzler on guitar. Anyway, we went to Hollywood to find a manager and a gig to establish ourselves.
We ended up sending a tape to Jac Holzman and he made the decision; he called back. So we went by Volkswagen to New York. Beckett and I were the only ones that stuck together because Brian was underage and Jimmy Fielder wanted to play with this more successful rock group he was with. He had a funny turn of events; he got into the Buffalo Springfield who folded as soon as he got into the group laughs and then about three other people whose things folded as soon as he got into the group.
Those were great days in New York. Goldmine: Were the socio-political songs on the second album just of that period or were they more Larry than you or what?
Tim Buckley: Yeah, but in those days, that worked, because there was a street and the word of the street was the best publicity you could have. I had Carter Collins on congas and Lee Underwood on guitar; we did that for years until it was getting pretty ridiculous to go on after the people that plugged in the Grand Coulee Dam, the mind-wipe music.
It was like a fart after a hail storm to go on after Pink Floyd or Blue Cheer. A song is just part of it, you know. I haven't lost myself in the deep, clawing mass of my own ego! Recently, when keeping up his comic's unrealistic plot becomes too challenging for the poor overworked dear, he just quits altogether and fantasizes about being a wacky space archaeologist in an interactive novel.
Of course, he can't be expected to create new characters, so he rips off all of fucking Star Wars ever makes clones of the CAD cast. I wonder how he'll transfer Lilah's likeness into this Nah, too much personality.
And the slug's definitely hotter. There's almost nothing to review here, such as the level of laziness apparent in Buckley's drawing style. Admittedly he's improved from , but frankly, who cares?
His level of "improvement" essentially boils down to adding shadows to his characters. And get this: When he copy-pastes the characters in different poses, the shadows don't change position to compensate. Consider the first two panels in the linked comic. In the first, light is shown on Lucas' torso, making it appear as if the lighting is to the right.
In the second, light is still shown on Lucas' torso, even though he's now facing the left, so that it appears as if the lighting has switched direction. I guess the light's coming from the front, but if that's true, what the hell is up with the shadowing on Lucas' shirt pocket?
Why is it shadowed in the part closest to the camera? What the hell is with the background colour changing from dark green to light green as you go down? If the light is from the top, why are there shadows on the tops of their shoulders? Bah, to hell with the shadowing, it's horrible and illogical. Also: Notice that Lilah's left arm doesn't have a shirt sleeve, until the final panel where it magically appears.
They were copy-pasted in the wrong order. CAD backgrounds have not improved at all from early comics. They're bland and boring. Bill Watterson would vomit at the lack of attention to detail in CAD comics, especially considering the sacrifices he made for his famous Calvin and Hobbes.
Watterson, as a quick comics lesson, actually demanded that he not be forced to deal with mandated panel divisions in his Sunday comics, so that he could be creative and unique in his usage of space and panel design. He has kept the same four-panel layout since the beginning of his comic, and has never made any real changes.
Whatever inner child he ever had is clearly dead and rotting, deep within his Buckley's black, festering soul. Otherwise, it would scream out for some modicum of imagination in art, some kind of hearkening to the childlike love of beauty and wonder.
No, Buckley's inner child is dead, buried, and unmourned, and the matured vessel it once inhabited is the pale shell of a withered, cynical, easily-wounded failure of a man. The writing is worse than the art in this abomination. It goes without saying, but let's just do it: It's terrible. Buckley has used so many words in his writing that it makes the Bible look like a limerick by comparison.
You really can't be nice about it, especially considering how stupid the words are, and considering that he expects you to read every single one of them. Comics are a visual medium, don't forget; the pictures are meant to tell the story , not fill space between the fucking mountain of useless inane WORDS.
Consider this strip as a fine example of Buckley's writing talent. The new game-store clerk, that just got hired there , is already trying to jump Ethan's bones. It turns out that she was paid to do that so Lilah's ex-boyfriend could convince her that Ethan was cheating on her , but that issue resolves itself , then Lilah apologizes to Ethan because it was all her fault, I guess.
Remember kids, Ethan is totally not a Mary Sue. The man has proved time and time again that he has no idea how to properly structure a joke, often excitedly blurting the punchline out in the first or second panel, leaving him to drag the joke along for another two or three unfunny and inane panels before finally killing it.
CAD began in a style not too unlike newspaper comics; something trivial and amusing well, it tried to read at work when you were bored, have a chuckle at and move on. Most likely Buckley never put any effort into the actual art because he thought he could push this thing along on the jokes alone; a simple style is okay for a simple little gag strip that you're going to forget by the time you've had your next coffee. But at some point Ethan Buckley broke out of his straight jacket and decided a shitty little copy-and-paste comic was the perfect medium for tragic, emotional tales of human woe.
Those gamers looking for a little giggle would somehow appreciate the depth of plots like miscarriages, failing relationships and the like. Post by Exactoman » Tue Aug 21, pm. Post by Zachy » Wed Aug 22, am. Post by Gribbie » Wed Aug 22, am. Post by Varn » Wed Aug 22, am. Privacy Terms. Quick links. The Tim Buckley Scandall. How do I made forum.
Post by Gribbie » Mon Aug 20, am The internet is littered with the photo-shopped wit of children and fat lonely men everyday. One of these so called artist, is a man named Tim Buckley. In , Tim Buckley was a poor artist struggling with his sexuality, poor gaming skills, and poor art skills, when he came across Penny Arcade. Realizing that Penny Arcade and VG Cats hadn't suckered everyone in yet, there was a possible gap in the market for yet more atrocious gaming webcomics.
At first, Ctrl-Alt-Delete's readers were easily amused by such new and refreshing lame slapstick gags as people being shot by arrows and rude language. Sadly, Tim saw this low-level popularity as akin to internet fame, and everything started to go downhill from there. But as of yesterday, Tim has recently met a horrible fate. Some dear old fan had discovered Tim's IP address.
Seeing what fun he could have with it, the fan thought he'd see what Tim's been up to in the world of Wikipedia.
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