Marc Tyler Nobleman's Blog, page 55
December 27, 2015
Super(hero) school library in Utah
In 10/13, I made my first trip to Utah and spoke at several schools. Author friend Chris Barton recently spoke at one of the same schools and posted/tweeted a visual update of how the library looks now:
December 23, 2015
Top 10 pop culture moments of 2015
#10: Bill Finger finally credited as co-creator of Batman.
The Hollywood Reporter broke the story on 9/18/15.
#9: Bill Finger finally credited as co-creator of Batman.
The first credit appeared in an ad for Dark Knight Universe Presents: The Atom #1, 10/10/15.
#8: Bill Finger finally credited as co-creator of Batman.
The first televised credit appeared in Robot Chicken DC Comics Special III: Magical Friendship,aired first thing 10/19/15.
#7: Bill Finger finally credited as co-creator of Batman.
One of the first three in-comic credits appeared in Batman & Robin Eternal #3, released 10/21/15.
#6: Bill Finger finally credited as co-creator of Batman.
One of the first three in-comic credits appeared in Batman: Arkham Knight—Genesis #3,released 10/21/15.
#5: Bill Finger finally credited as co-creator of Batman.
One of the first three in-comic credits appeared in Gotham Academy #11, released 10/21/15.
#4: Bill Finger finally credited as co-creator of Batman.
Gotham, aired 10/19/15.
#3: Bill Finger finally credited as co-creator of Batman.
Batman v Superman: Dawn of Justice TV ad,aired 11/30/15.
#2: Bill Finger finally credited as co-creator of Batman.
Batman #46, released 11/11/15.
#1: Bill Finger finally credited as co-creator of Batman.
Detective Comics #46, released 11/4/15.The title in which Batman began...
The Hollywood Reporter broke the story on 9/18/15.#9: Bill Finger finally credited as co-creator of Batman.
The first credit appeared in an ad for Dark Knight Universe Presents: The Atom #1, 10/10/15.#8: Bill Finger finally credited as co-creator of Batman.
The first televised credit appeared in Robot Chicken DC Comics Special III: Magical Friendship,aired first thing 10/19/15.#7: Bill Finger finally credited as co-creator of Batman.
One of the first three in-comic credits appeared in Batman & Robin Eternal #3, released 10/21/15.#6: Bill Finger finally credited as co-creator of Batman.
One of the first three in-comic credits appeared in Batman: Arkham Knight—Genesis #3,released 10/21/15.#5: Bill Finger finally credited as co-creator of Batman.
One of the first three in-comic credits appeared in Gotham Academy #11, released 10/21/15.#4: Bill Finger finally credited as co-creator of Batman.
Gotham, aired 10/19/15.#3: Bill Finger finally credited as co-creator of Batman.
Batman v Superman: Dawn of Justice TV ad,aired 11/30/15.#2: Bill Finger finally credited as co-creator of Batman.
Batman #46, released 11/11/15.#1: Bill Finger finally credited as co-creator of Batman.
Detective Comics #46, released 11/4/15.The title in which Batman began...
December 22, 2015
December 12, 2015
Addicted to lies
Within two weeks of each other, two people commented here that they each know a (different) woman who claims she was one of the five “bandmates” in the iconic 1986 “Addicted to Love” video…yet not one of the five I featured.
One is a high school English teacher named Anita Dowd.
The other is named Alison-Louise Mitchell.
However, I tracked down and interviewed all five women from the video, and all five know one another, and none knows the names of these other two, so it’s a rather bizarre bid for attention or…something.
From one of the five ATL ladies:
“Many have claimed otherwise, but we five are without a doubt the girls in the original ‘Addicted’ video. It’s actually quite easy to get away with claiming to be in it as the makeup is difficult to see through…until you put our faces next to our younger ones and you can see it was us.”
2014 reunion
I couldn’t resist the title of this post, but concede that it is too harsh and maybe inaccurate. There are other explanations for these claims.
Perhaps the people posting about Anita and Alison-Louise are sincerely misremembering the reality. Perhaps those women were on set but as musicians, not models. Or perhaps they were dancers in another Robert Palmer video. Perhaps Anita and Alison-Louise did say they were ATL women, but as a joke that was taken for truth. Perhaps they were so under the influence of something in the ‘80s that they genuinely believed they were in the video. And so on.
By the way, did you spot me in Madonna’s “Vogue”?
One is a high school English teacher named Anita Dowd.
The other is named Alison-Louise Mitchell.
However, I tracked down and interviewed all five women from the video, and all five know one another, and none knows the names of these other two, so it’s a rather bizarre bid for attention or…something.
From one of the five ATL ladies:
“Many have claimed otherwise, but we five are without a doubt the girls in the original ‘Addicted’ video. It’s actually quite easy to get away with claiming to be in it as the makeup is difficult to see through…until you put our faces next to our younger ones and you can see it was us.”
2014 reunionI couldn’t resist the title of this post, but concede that it is too harsh and maybe inaccurate. There are other explanations for these claims.
Perhaps the people posting about Anita and Alison-Louise are sincerely misremembering the reality. Perhaps those women were on set but as musicians, not models. Or perhaps they were dancers in another Robert Palmer video. Perhaps Anita and Alison-Louise did say they were ATL women, but as a joke that was taken for truth. Perhaps they were so under the influence of something in the ‘80s that they genuinely believed they were in the video. And so on.
By the way, did you spot me in Madonna’s “Vogue”?
December 11, 2015
MTN in TN…again
For the third time this fall, I had the pleasure of going to Tennessee to talk books.
This time, over three days, I spoke once each at nine schools in the Blountville area of northeast Tennessee, not far from the Virginia border. At home in Maryland, I’m also not far from the Virginia border, but on the other end.
This trip was a model example of teamwork. Individually, many of these schools did not have the budget for an enrichment program, but there’s affordability in numbers. The inexhaustible Donna Hatcher organized all this, and in record time. For most of these schools, it was the first time a non-local author visited, so further props to Donna for convincing them of the value of such an activity. Bringing in an author can be nerve-racking for the host, especially the first time. I can’t praise the students enough; they were so respectful, as if they have assemblies weekly. Also so attentive and responsive.
During one talk, in front of an auditorium of kids, a middle schooler named Adam (who is on the spectrum) walked calmly up to me, kissed his palm, and touched it to my cheek, then silently walked to the back of the room. I love that he was struck with the feeling to do this, and I love that the teachers let him. It rendered me speechless for longer than a dramatic pause.
Toward the end of my talk for older kids, I say that Bill Finger’s son Fred was gay. My presentation is an exercise in economy—every word is there to drive the drama of the story—and this detail is no different. In an area as conservative as rural Tennessee, however, the risk of this causing concern is considerable.
At a couple of schools, my kind hosts raised this issue with me privately—and professionally. One host apologized that students asked multiple questions about Fred’s sexuality (“How could he have a child if he was gay?”; “What is AIDS?”). I assured her that this was nothing to apologize for—quite the opposite. The questions were perfectly valid—and I commend the students who felt comfortable to ask them, especially in a room packed with peers of varying levels of understanding/tolerance. Perhaps some kids have no other open channel to pose such questions. Perhaps some are already coming to terms with their own sexuality and are petrified that it is not in line with the expectation of many people they know. If a school staff, however enlightened, can’t touch on this vital topic without fear of complaints, I say let a guest take it on.
My hosts were not expressing their personal opinion or judging mine. They were simply trying to be sensitive to their community. If any parent (or fellow educator) is displeased with a guest speaker broaching a particular subject, the person who will bear the brunt of any pushback is the host. Of course I do not want to put any of my hosts in a difficult situation. At the same time, I do not want to disrespect the truth or compromise my beliefs. The solution, to me, is plainspoken compassion.
I especially applaud the librarians who had seen my talk at TASL, knew I would mention this, and still invited me; that took courage, and it was in the best interest of your young people.
In short, I feel my time in Blountville was a growth experience for all involved. I am looking forward to going back.
Glimpses:
This larger-than-me banner was designed by the sixth gradeof Blountville Middle School.
The Mary Hughes School library is in the process of incorporating a snazzy
Hardy Boys theme, complete with 1970s dolls and games snagged off ebay
(next three photos):
Morning and afternoon trespassing, however, is fine.
This time, over three days, I spoke once each at nine schools in the Blountville area of northeast Tennessee, not far from the Virginia border. At home in Maryland, I’m also not far from the Virginia border, but on the other end.
This trip was a model example of teamwork. Individually, many of these schools did not have the budget for an enrichment program, but there’s affordability in numbers. The inexhaustible Donna Hatcher organized all this, and in record time. For most of these schools, it was the first time a non-local author visited, so further props to Donna for convincing them of the value of such an activity. Bringing in an author can be nerve-racking for the host, especially the first time. I can’t praise the students enough; they were so respectful, as if they have assemblies weekly. Also so attentive and responsive.
During one talk, in front of an auditorium of kids, a middle schooler named Adam (who is on the spectrum) walked calmly up to me, kissed his palm, and touched it to my cheek, then silently walked to the back of the room. I love that he was struck with the feeling to do this, and I love that the teachers let him. It rendered me speechless for longer than a dramatic pause.
Toward the end of my talk for older kids, I say that Bill Finger’s son Fred was gay. My presentation is an exercise in economy—every word is there to drive the drama of the story—and this detail is no different. In an area as conservative as rural Tennessee, however, the risk of this causing concern is considerable.
At a couple of schools, my kind hosts raised this issue with me privately—and professionally. One host apologized that students asked multiple questions about Fred’s sexuality (“How could he have a child if he was gay?”; “What is AIDS?”). I assured her that this was nothing to apologize for—quite the opposite. The questions were perfectly valid—and I commend the students who felt comfortable to ask them, especially in a room packed with peers of varying levels of understanding/tolerance. Perhaps some kids have no other open channel to pose such questions. Perhaps some are already coming to terms with their own sexuality and are petrified that it is not in line with the expectation of many people they know. If a school staff, however enlightened, can’t touch on this vital topic without fear of complaints, I say let a guest take it on.
My hosts were not expressing their personal opinion or judging mine. They were simply trying to be sensitive to their community. If any parent (or fellow educator) is displeased with a guest speaker broaching a particular subject, the person who will bear the brunt of any pushback is the host. Of course I do not want to put any of my hosts in a difficult situation. At the same time, I do not want to disrespect the truth or compromise my beliefs. The solution, to me, is plainspoken compassion.
I especially applaud the librarians who had seen my talk at TASL, knew I would mention this, and still invited me; that took courage, and it was in the best interest of your young people.
In short, I feel my time in Blountville was a growth experience for all involved. I am looking forward to going back.
Glimpses:
This larger-than-me banner was designed by the sixth gradeof Blountville Middle School.The Mary Hughes School library is in the process of incorporating a snazzy
Hardy Boys theme, complete with 1970s dolls and games snagged off ebay
(next three photos):
Morning and afternoon trespassing, however, is fine.
December 8, 2015
“Super Friends” DVD oddities
I know, what’s a DVD?
Whether or not you know the term, perhaps you can solve two mysteries presented by the packaging of the DVDs of All-New Super Friends Hour (season 1, volume 2).
Mystery #1:
When did this happen?
Mystery #2:
What is the second “F” for (left disc from another DVD set, for comparison)?
Possible answer: “forever” (as in “Super Friends Forever”)?
Whether or not you know the term, perhaps you can solve two mysteries presented by the packaging of the DVDs of All-New Super Friends Hour (season 1, volume 2).
Mystery #1:
When did this happen?
Mystery #2:
What is the second “F” for (left disc from another DVD set, for comparison)?
Possible answer: “forever” (as in “Super Friends Forever”)?
December 4, 2015
Desk desk evolution
Who takes a picture of his desk?
Uh…
1990
1992
1992 (college)
1998
1999
2008(starting here, look for Bill Finger’s paperweight;the books on the left on the flatbed scanner werereferences for Fairy Spell)
2011
2015
And just because who would have thought such a photo a) was ever taken and b) would still be around today…
BILL FINGER’S DESK, circa 1945
Uh…
1990
1992
1992 (college)
1998
1999
2008(starting here, look for Bill Finger’s paperweight;the books on the left on the flatbed scanner werereferences for Fairy Spell)
2011
2015And just because who would have thought such a photo a) was ever taken and b) would still be around today…
BILL FINGER’S DESK, circa 1945
December 2, 2015
First Bill Finger credit in a film
A film ad, to be precise. But a doozy. Batman v Superman: Dawn of Justice:
December 1, 2015
“FairyTale: A True Story” (1997 film)
In 1917, alleged fairies captured on film fanned a firestorm of public attention. Eighty years later, they made it to film again—as in movie.
FairyTale: A True Story was the first big-screen adaptation of two WWI-era British cousins named Frances and Elsie and the five fairy photographs they snapped over three years. There is so much lovely about it. In honor of Fairy Spell, my 2018 book about the same, I will be running original interviews with the stars and story architects of FairyTale.
In the meantime, a few notes on how the film compares with the actual story (some of this will come up again in the interviews):
It is unusual for a film to claim itself “a true story” rather than “based on a true story,” especially when the film takes considerable liberties (as this one does).In the film, Elsie is 12, Frances 8; in real life, Elsie was 16 and Frances 9 when they took the first photo.In the film, Frances’s mother Annie is dead; in the actual story, she accompanied Frances to Cottingley and also lived with the Wrights.The first scene focuses on the always-captivating Harry Houdini. However, he had no role in the actual story (which is plenty captivating without him). Later in the film, Houdini is used to implant Elsie with the conviction that it’s okay to keep secrets.Elsie did not have a brother, but the film gives her one—Joseph, who has died before the story starts. He is used to implant Elsie’s mother Polly with a “realistic” motive to believe in the unknown.In the film, Frances sneaks her uncle’s camera to take the first photo; in real life, she and Elsie asked and were begrudgingly given permission to borrow it.In the real story, Arthur Conan Doyle did not meet the girls.In the real story, Polly did not meet Gardner till 1920, by which time the girls had taken two photos.In the real story, it was not Gardner who accompanied the girls to the beck to try for more photos; it was a man named Geoffrey Hodson. In the film, Gardner is present when the girls take the third (of five) photos, which occurred in 1920.The film incorporates the story of Peter Pan and its familiar element of encouraging children to believe in fairies.In the film, a reporter who breaks into the Wright home discovers the fairy cutouts (and sees the ghost of Joseph). Neither happened in real life.The film does not conclusively reveal how the girls staged photos.
FairyTale: A True Story was the first big-screen adaptation of two WWI-era British cousins named Frances and Elsie and the five fairy photographs they snapped over three years. There is so much lovely about it. In honor of Fairy Spell, my 2018 book about the same, I will be running original interviews with the stars and story architects of FairyTale.
In the meantime, a few notes on how the film compares with the actual story (some of this will come up again in the interviews):
It is unusual for a film to claim itself “a true story” rather than “based on a true story,” especially when the film takes considerable liberties (as this one does).In the film, Elsie is 12, Frances 8; in real life, Elsie was 16 and Frances 9 when they took the first photo.In the film, Frances’s mother Annie is dead; in the actual story, she accompanied Frances to Cottingley and also lived with the Wrights.The first scene focuses on the always-captivating Harry Houdini. However, he had no role in the actual story (which is plenty captivating without him). Later in the film, Houdini is used to implant Elsie with the conviction that it’s okay to keep secrets.Elsie did not have a brother, but the film gives her one—Joseph, who has died before the story starts. He is used to implant Elsie’s mother Polly with a “realistic” motive to believe in the unknown.In the film, Frances sneaks her uncle’s camera to take the first photo; in real life, she and Elsie asked and were begrudgingly given permission to borrow it.In the real story, Arthur Conan Doyle did not meet the girls.In the real story, Polly did not meet Gardner till 1920, by which time the girls had taken two photos.In the real story, it was not Gardner who accompanied the girls to the beck to try for more photos; it was a man named Geoffrey Hodson. In the film, Gardner is present when the girls take the third (of five) photos, which occurred in 1920.The film incorporates the story of Peter Pan and its familiar element of encouraging children to believe in fairies.In the film, a reporter who breaks into the Wright home discovers the fairy cutouts (and sees the ghost of Joseph). Neither happened in real life.The film does not conclusively reveal how the girls staged photos.
November 30, 2015
Why I don’t require prep work for school visits
Children’s authors who speak in schools commonly feel that kids who have not read their books might not be vested in their presentation. Therefore, some request that teachers and librarians prep students by reading/assigning one or some of the author’s books, conducting an author study, and/or running activities related to the subject(s) the author writes about.
I take a different view.
I like to go into a presentation with an audience who knows little or nothing about me.
Before I explain why that is not akin to going into battle without armor, a bit of background…
An author visit is an expense, sometimes a sizable one. That makes it a gamble, too, because the school reps (usually the librarian or a PTA member) who bring in an author often haven’t heard that author’s presentation in advance. They invite based on the books, word of mouth about the presentations, or both.
This can be nerve-racking for the person arranging the visit—to host an author, s/he must ask whole grades and sometimes a whole school to interrupt their regularly scheduled programming. And not just for the assembly itself—also for the prep work. I look up to anyone willing to vouch for the quality of a guest speaker (author or otherwise) who has not been screened. If the presentation is a dud, that’s a lot of money and a lot of people’s time wasted.
Conversely, for some educators, doing no prep work is also nerve-racking. They worry the students will not pay attention to the author. They worry the author will be insulted.
But as the author, I’m the one being paid, so I feel I’m the one who should shoulder the responsibility of making this worth their while. I want to alleviate stress in my hosts. Just because I take author visits this seriously does not mean I don’t bring the fun! I feel I should be able to walk into any library, cafeteria, auditorium, or cafetorium and engage, entertain, and educate the audience for an hour even if they had no idea I was coming...or even if they never heard of me. Luckily, I love this challenge.
The books that are the focus of my current presentation (Boys of Steel: The Creators of Superman, Bill the Boy Wonder: The Secret Co-Creator of Batman) solve mysteries behind two of the most iconic fictional characters of all time. Therefore, the presentation benefits from the element of surprise: the less students know going into it, the more they will get out of it.
Establishing an in-person connection is not enough. It needs to be a meaningful in-person connection. I assure schools that it is this straightforward: “You set up the PowerPoint, I show up and fire up the kids (and staff).” My vow: I will leave students with the sense that writing and research are adventure. And I will leave some members of the staff in bittersweet tears. I am happy to report that it is working.
Of course I want kids to be exposed to my books. But I’ve found it to be a more effective use of class/library time to do that after I present. Beforehand, it is tough to draw in the kids who are not interested in superheroes...especially because many educators fall into that category, too!
But mine is not your typical, predictable presentation. The true stories I tell have a magical way of converting all kinds of people. I feel fortunate that I uncovered these stories and am able to share them in this way.
Therefore, it’s easier on the educators not to try building excitement ahead of the presentation but rather to trust that they will be able to use the presentation as a springboard for further learning. Librarians regularly report that after my talks, the demand for my books skyrockets; the waiting list is often dozens of names—some of whom had previously said that they could not care less about superheroes—which often results in the ordering of more copies. Yes, this might still happen even if a school does prep work, but my goal is to maximize a school’s investment both financially and timewise.
I find it invaluable to let the presentation be the inspiration.
I take a different view.
I like to go into a presentation with an audience who knows little or nothing about me.
Before I explain why that is not akin to going into battle without armor, a bit of background…
An author visit is an expense, sometimes a sizable one. That makes it a gamble, too, because the school reps (usually the librarian or a PTA member) who bring in an author often haven’t heard that author’s presentation in advance. They invite based on the books, word of mouth about the presentations, or both.
This can be nerve-racking for the person arranging the visit—to host an author, s/he must ask whole grades and sometimes a whole school to interrupt their regularly scheduled programming. And not just for the assembly itself—also for the prep work. I look up to anyone willing to vouch for the quality of a guest speaker (author or otherwise) who has not been screened. If the presentation is a dud, that’s a lot of money and a lot of people’s time wasted.
Conversely, for some educators, doing no prep work is also nerve-racking. They worry the students will not pay attention to the author. They worry the author will be insulted.
But as the author, I’m the one being paid, so I feel I’m the one who should shoulder the responsibility of making this worth their while. I want to alleviate stress in my hosts. Just because I take author visits this seriously does not mean I don’t bring the fun! I feel I should be able to walk into any library, cafeteria, auditorium, or cafetorium and engage, entertain, and educate the audience for an hour even if they had no idea I was coming...or even if they never heard of me. Luckily, I love this challenge.
The books that are the focus of my current presentation (Boys of Steel: The Creators of Superman, Bill the Boy Wonder: The Secret Co-Creator of Batman) solve mysteries behind two of the most iconic fictional characters of all time. Therefore, the presentation benefits from the element of surprise: the less students know going into it, the more they will get out of it.
Establishing an in-person connection is not enough. It needs to be a meaningful in-person connection. I assure schools that it is this straightforward: “You set up the PowerPoint, I show up and fire up the kids (and staff).” My vow: I will leave students with the sense that writing and research are adventure. And I will leave some members of the staff in bittersweet tears. I am happy to report that it is working.
Of course I want kids to be exposed to my books. But I’ve found it to be a more effective use of class/library time to do that after I present. Beforehand, it is tough to draw in the kids who are not interested in superheroes...especially because many educators fall into that category, too!
But mine is not your typical, predictable presentation. The true stories I tell have a magical way of converting all kinds of people. I feel fortunate that I uncovered these stories and am able to share them in this way.
Therefore, it’s easier on the educators not to try building excitement ahead of the presentation but rather to trust that they will be able to use the presentation as a springboard for further learning. Librarians regularly report that after my talks, the demand for my books skyrockets; the waiting list is often dozens of names—some of whom had previously said that they could not care less about superheroes—which often results in the ordering of more copies. Yes, this might still happen even if a school does prep work, but my goal is to maximize a school’s investment both financially and timewise.
I find it invaluable to let the presentation be the inspiration.
