Scott Longo
football comics

football comics

Patsy Cline - Strange (1961)

Another weekend of Hennipin edits. ;) It’s coming. It’s coming.

Another weekend of Hennipin edits. ;) It’s coming. It’s coming.

First of 2014. PaRappa redrawn from Jammers.

First of 2014. PaRappa redrawn from Jammers.

Cathartic self-portrait to end 2013. It felt good. :) Here’s to 2014!

Cathartic self-portrait to end 2013. It felt good. :) Here’s to 2014!

Alice Coltrane - Spiritual Eternal (1976)

Starting the year off right.

Every man hath two birth-days: two days, at least, in every year, which set him upon revolving the lapse of time, as it affects his mortal duration. The one is that which in an especial manner he termeth his. In the gradual desuetude of old observances, this custom of solemnizing our proper birth-day hath nearly passed away, or is left to children, who reflect nothing at all about the matter, nor understand any thing in it beyond cake and orange. But the birth of a New Year is of an interest too wide to be pretermitted by king or cobbler. No one ever regarded the First of January with indifference. It is that from which all date their time, and count upon what is left. It is the nativity of our common Adam.

Of all sounds of all bells—(bells, the music nighest bordering upon heaven)—most solemn and touching is the peal which rings out the Old Year. I never hear it without a gathering-up of my mind to a concentration of all the images that have been diffused over the past twelvemonth; all I have done or suffered, performed or neglected—in that regretted time. I begin to know its worth, as when a person dies. It takes a personal colour; nor was it a poetical flight in a contemporary, when he exclaimed

I saw the skirts of the departing Year.

- Charles Lamb, New Year’s Eve


Cy Twombly, Natural History, Part 1, Mushrooms, (1974)

This is one of two portfolios made in the mid 1970s, the other being Natural History Part II (Some Trees of Italy) 1976. In both of these series, Twombly uses a quasi-scientific presentation with his characteristic expressive, gestural graphic language.

Twombly, like Rauschenberg with his collage prints, was a master of this kind of aleatoric-seeming collage, loose and dispersed but nonetheless composed. The intelligible and authentic science being practiced here is the testing of graphic structure itself - testing whether, in the end, it isn’t a matter of sensitivity. Might not structure be so permissive and flexible a thing that even the chaotic, at infinite distance, has a shiver of logic? Like John Cage (who Twombly might have picked up the fascination with mushrooms from), Twombly seems to have realized how easy art can be once you stop struggling with it! 

(via crudite)



What was your first zine about and when was it made?

My first zine (and comic) was a collaboration between myself and a good friend who I used to babysit. In 2007, he was 11, and I was 21. The title of the comic was “Dunkin’ at Midnight,” and it mostly focused on Lebron James’ transformation from a mid-dunk basketball superstar, in the first panel, to a headless, lost soul a million years later. At least that’s a rough summary of the first two pages. ;)

Describe your most recent zine.

The Intern, published by Oily Comics, is my most recent zine. I think of it as a kind of love letter to a friend and to the deepest corners of the suburbs.

Read the rest of the interview at the LA Zine Fest blog!

Ha! I half-remember answering these questions, but that thought betrays how completely psyched I am to drive down to LA in Feb. I’ve only heard glowing praise for LAZF, and I can’t wait to see all the LA friends. Now I just have to make sure we can get the new books ready in time. ;)