The Pulitzer Prize-winning cartoonist's Explainers: The Complete Village Voice Strips 1956-66 is set to be released by Fantagraphics in June. The book, the first of four volumes collecting Feiffer's entire run of weekly strips from the Voice, features a lengthy introduction and interview with Feiffer by Fantagraphics publisher Gary Groth. The "world premiere book release reading and signing" is scheduled for Thursday, May 15, at 7 pm at the Strand bookstore in New York. In other Jules Feiffer news, last week he published a new political cartoon in the Voice for the first time in more than a decade.
The Village Voice Media executive editor ruffled some feathers when he used the "n-word" to refer to an old friend while accepting the President's Award from the local Society of Professional Journalists chapter, the East Valley Tribune reports. "My words, meant to honor a friend, were inappropriate," Lacey says. "All present have my sincere apology. It is regrettable that any phrase of mine offended those attending a First Amendment awards banquet." In other news, Phoenix New Times will receive a Payne Award for Ethics in Journalism for standing up to last fall's grand jury probe. Lacey and VVM CEO Jim Larkin were both arrested and briefly incarcerated as a result of the probe.
Village Voice Media executive editor Mike Lacey and chairman/CEO Jim Larkin received the honor at the AZ ACLU's annual Bill of Rights dinner this weekend. They were being honored for publishing the county's illegal grand jury subpoenas against the Phoenix New Times and its readers last fall, for which the pair was ultimately arrested. But in presenting the award to the New Times founders, AZ ACLU past president John Hay explained that the well-publicized dust-up was only the tip of the iceberg. "The excuse we're using is what happened this fall when they faced down the Sheriff and the County Attorney. But they have in fact been defending civil liberties now for at least 38 years," Hay said. "So it is my pleasure to present these awards, which I think are slightly wrong. This says Civil Libertarian of the Year. I present these awards to Michael Lacey and Jim Larkin for being Civil Libertarians of the past four decades."
The Voice has finalists in three categories in the annual awards handed out by the Society for Professional Journalists' New York City chapter: Tom Robbins in beat reporting, Rob Harvilla in arts reporting, and Chloe A. Hillard in minority focus, which includes "coverage of a particular minority community, or of an issue with particular impact on such a community, that has import to the community at large." Winners will be announced May 15.
Smith, who wrote about dance for the Boston Phoenix, the Village Voice, and many other publications, has died, the Voice reports. A memorial will be held at a date to be determined in May.
Miami New Times' Isaiah Thompson was awarded a IRE certificate in the local circulation weeklies category for his stories on how residency restrictions forced sex offenders to live under a Miami bridge. In the same category, the AAN-commissioned "Who Killed Brad Will?" was a finalist, along with Peter Byrne's series on Sen. Dianne Feinstein in the North Bay Bohemian and Wayne Barrett's reporting on Rudy Giuliani in the Village Voice. The Texas Observer's reporting on sexual abuse at a state-run youth prison and the cover-up that followed it was also a finalist, in the Magazine/specialty publication category. The Chauncey Bailey Project, which the San Francisco Bay Guardian took part in, was awarded this year's Tom Renner Award, which honors "outstanding reporting covering organized crime or other criminal acts."
"There's more to the Bay Guardian-VVM fight than ill will and purple prose," writes Boston Phoenix media reporter Adam Reilly. "The two sides have predictably divergent takes on the merits of the outcome. But they agree that its legal ramifications go far beyond the Bay Area and the alt-weekly universe." Guardian publisher and editor Bruce Brugmann tells the Phoenix that the suit sets an example for small businesses everywhere. "Everyone can use our suit as a model and template for any big chain that's coming in and trying to predatory-price them," he says. But SF Weekly attorney Jim Wagstaffe thinks that if the judge grants the Guardian's request for an injunction for the Weekly to stop all below-cost sales as the case winds its way through the courts, "the result here could dramatically harm consumers. If every one of [a publication's] ad sales is scrutinized to make sure it's not, quote-unquote, too low, then what'll happen is, publications will raise their prices to avoid getting sued." The Guardian notes that interest will accrue on the judgment at a rate of 10 percent a year. "That means the Weekly and VVM will be paying $4,000 a day in interest for as long as they seek to dispute and appeal the jury decision," the Guardian reports.
"It's actually rather easy to go unrecognized as a critic," says Robert Sietsema, who's been eating and writing for the Voice for 15 years. "Most critics want to be recognized since they love having restaurateurs kiss their ass and bring them free food. The Voice pays for what I eat, so I don't need any free food." The critic talks to Gothamist in advance of the Voice's first-ever Choice Eats tasting event tonight in New York, which features some of Sietsema's favorites. They also ask him about the response to his recent much-talked-about story on "how bogus" the popular TV show Iron Chef is. Sietsema says "the funniest responses came from crybaby Iron Chef judges ... it was like poking a hornet's nest, and I'd do it again in a second."
To celebrate his 30th anniversary at the Village Voice, the Brooklyn Academy of Music asked J. Hoberman to select films that have sparked some of his most stimulating reviews and articles, as well as a few personal favorites, in a series that begins next week. "30 Years of J. Hoberman" opens Monday with David Lynch's Eraserhead and runs through April 3. In an interview with Gothamist, Hoberman talks about the state of the film world, and reflects on his roots in the 1970s avant-garde film scene. When asked if he'd ever want to step behind the camera again, Hoberman says he's not sure. "I still have some ideas for things I was never able to realize twenty odd years ago but I don't know that I have the necessary desire," he says. "It's tough to make avant-garde films. You have to really will this stuff into the world."
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