Below is another offering from my library of imaginary books, this image comes from An Ornate Asemic Alphabet in Monstrose Forms, by Davida Elzevir-Dewey and Joanna Vandy, George H. Doran Company, 1926
…and a gif, mostly asemic, titled “Southern Cross”, and somehow connected to the song by Crosby, Stills and Nash.
© 2017 lcmt
“Ghost Pepper Savants Chirp Joy in the Leftover Sun of the Demonic Parking Lot”
This is a collaboration with Michael Sikkema, author of Die Die Dinosaur, published by Blazevox. Michael provided the source material, a photograph of branches.
I am very susceptible to branches, which can be used as characters or narrative structures. Michael is also the source of the title, which is a work of genius. (I would like to state that ghost peppers are way too hot for me to eat, but I admire the legendary aesthetic of very hot peppers. Like dark chocolate, they are true magic.)
Here’s a glimpse of one of my pages in Tony Burhouse’s new zine:
© 2017 lcmt
Above is the incomplete cover design for The Semi-Annual Gala Luncheon of Cognizance.
Wm. Yost made four variations of his attempt to interpret Hamlet within the GLP cosmology, as part of his series of Shakepeare plays translated for horned lizards. Two of the Hamlet panels were supposed to be published for the first time in a book, The Semi-Annual Gala Luncheon of Cognizance, scheduled for release in late November 1998. More than half the book was to be a Geranium Lake Properties retrospective, but the publisher planned at least forty pages devoted to new material, in a lavish hard-cover format. A further announcement changed the release date to early December, then it was pushed back to a week before Christmas, then it became little more than a hope for early 1999. Yost disappeared in 1999–the last reported sighting was of Yost boarding a ferry on a trip out from Auckland, New Zealand, on April 1rst. The book was never published.
This is a gif I made out of Yost’s variations:
The story behind today’s GLP comic could be the history of the band Cingroove, which was not so much a band as dance machine project created in the eighties by Samantha Zivotovsky, known professionally as Sam Zivo. Sam was an art punk (and a blood relative of Warren Zevon) with an abiding love for synthpop electro-boogie fusion, but she didn’t stop there. Sam felt compelled to squeeze several of her erratic musical obsessions into the mix of her soundtracks, including passions for the ukulele, the accordion, and traditional Mariachi string instruments, the vihuela and the guitarrón. When Sam was a child, she had accompanied her Jewish grandmother (who had lived in the same house in Boyle Heights, Los Angeles, for sixty years) to Mariachi Plaza to hire bands for parties and weddings. In addition, Sam gave Cingroove a brass section with two trumpets and a trombone, an influence from her mother’s adoration of Earth, Wind & Fire, and Herb Albert and the Tijuana Brass.
Cingroove achieved modest success in the eight years of its existence, with several songs popular in dance clubs, and three of them reaching Billboard’s Hot 100. The first was “Acrographinotus”, known as “Miz Lady Goatbug”, which was the popular interpretation of a garbled line in the song’s refrain. Sam never revealed the true meaning of the refrain.
“The tricky thing with my lyrics is that I need people to misunderstand them to get a hit single,” she said in an interview in Spin, May 1986. “Acrographinotus” reached number 38 on the Billboard chart. Cingroove’s second chart hit, “Paradise in the Large Never Never”, from their third album, reached number 24 in 1989, where it stayed for 11 weeks. Cingroove’s last hit, “Whiteface Heroes and Bluesky Gods”, also from the third album, was their biggest hit, reaching number 4 on the Billboard chart.
Cingroove entered the Geranium Lake Properties universe with “Acrographinotus”; Wm. Yost became a fan of the song, and drew several interpretations of the character Miz Lady Goatbug. He collaborated with Sam Zivo on the Cingroove logo, which was based on a graffiti stencil Sam had made of the band’s name. Many years later, after Yost had retired and disappeared, Gralie Bohe wrote Samantha Zivotovsky into her novel, The Boy in the Yellow Leatherette Portmanteau. She appeared as a girlfriend of Yost’s ex-wife.
This is the last of the panels in my possession from the Valley of Gheionnim series. If you follow the tag for Gheionnim you should be able to see all five posts.
Below is the corner of a thing I am quite happy with at the moment. It emerged out of a page I was making for submission to a zine project (for my friend Tony Burhouse). The page evolved into a Geranium Lake Properties panel (which will be posted as soon as I figure out what to call it), a map, and this thing which right now is working under the title “An Invocation for the Kelp Forest”.
© 2017 lcmt
“Same gods w/ different moods, different masks for different seasns” [sic] was written by Yost on the back of this panel, next to a symbol that resembled an ankh or a tau-rho.
© 2017 lcmt
A panel from the Valley of Gheionnim series. Reputedly, seven panels from the series exist, and Yost planned to make twelve in total, but I have only five transparencies in the collection I received from Ha Kim Ngoc.
Tiamat’s Gutboard (top image)
Four years after Jack Loki first met the Friendly Neighborhood Haruspices, Wm. Yost began a series about Jack’s prophetic journey through the Valley of Gheionnim. The series began with a haruspication made by an entity named Tiamat Choureau, who used a kiGamnch gutboard.
The Utilapu Benison (bottom image)
No well-brought-up jackalope would dream of beginning a quest without formal permission for departure from their loved ones. This set of paglakaw nga mga papel was drawn up by Jack’s fiancée, Alice Aroumbeyski.