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A moving and eloquent memoir of a professional comic book artist.Frank Thorne is one of the most respected and accomplished comic artists of his generation. He began drawing comic in the 1950s and quickly established himself as a supremely competent draftsman and storyteller. By the mid-'80s, he found himself drawing Red Sonja, a Conan spin-off for Marvel Comics, and discovered that he enjoyed drawing the female form so much that he bolted from mainstream comics and became one of the preeminent erotic artists of his time. The Crystal Ballroom is Frank Thorne's sequel to his first illustrated autobiography, Drawing Sexy Women—"coming of age in the spring of '46," as the sub-title has it. Thorne describes his growing passion for popular culture—Harry James, Artie Shaw, Satchmo, Betty Grable, Buster Crabbe's Flash Gordon as well as Alex Raymond's Flash Gordon newspaper strip (in The New York Journal American), pulp fiction and movies—his growing interest in drawing and playing the coronet, his budding sexuality, and, of course, his dream of playing in The Crystal Ballroom with his jazz idols. By turns an expression of postwar exuberance and bittersweet rite of passage, copiously illustrated with over 80 exquisite pencil drawings by the author that capture the feel of the period and complement the prose, The Crystal Ballroom is the most moving and eloquent memoir of a cartoonist ever written.
Author Biography: Frank Thorne has had an extensive career in comics including working on Red Sonja for Marvel Comics and creating Ghita of Alizar. Thorne's work has also appeared in Heavy Metal and Playboy. He lives in South Plains, New Jersey with his wife.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Steven Cybulski
reviewed The Crystal Ballroom on March 01, 2015 The Crystal Ballroom
Finally, a comprehensive picture of college student politics through-out the US during this era of dissent. Instead of focusing on the more sensationalized view of SDS as violent, spoiled rich kid bomb makers; this book explores the many different factions and off-shoots of SDS through interviewing it's self-proclaimed members and describing what SDS was like for them at the particular college they attended. The stories portray many colleges and universities throughout the United States; and each interviewees personal reflections on how and why they got involved and what it meant to them, what their part in the movement was like, and how their chapter or splinter group operated within the context of the larger movement. The obvious lack of real organization, clarity or overall mission statement and complete disjointedness between the many factions are clearly portrayed. Some are pro communism, some are anti-communism. Some have strong leaders, some do not. Most are non violent, non threatening and rather naive. That there was no real controlling or dominating umbrella group becomes apparent. The media's exploitation and government's paranoid subversion of SDS becomes obvious in retrospect. The main thread common to the different factions is clearly anti-war sentiment. It's lovely and humanizing to hear the varied personal voices of the different students who were involved and why and how they became activists. They all have a somewhat different story to tell. Also, the book touches upon feminism, education reform, abortion rights and the burgeoning beginnings of other radicalized movements whose seeds were planted within SDS.
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