Sunday, September 30, 2012

Finally, another pile by Sean Stoltey

I once again apologize for an absence.  Kids, kids in school, sick kids and then sick me.  It’s been a cornucopia of awesomeness.  So let’s just jump back into reviews, shall we?

HAPPY! #1 by Grant Morrison and Darick Robertson-  A new off-beat creation from Grant Morrison?  I figured I can finally get in on the ground floor of something Morrison did outside of the Superhero mainstream.  Yeah, I’m one of those.  I was aware of Morrison, but I didn’t really give him much of a shot before his run on JLA.  After that, I have mostly just read his mainstream stuff.  (Yes, I plan on reading The Invisibles and The Filth.  Give me time!)  For me, Morrison is either firing on all cylinders(Batman, New X-Men, All-Star Superman), or being incoherent in the name of being fresh and different(Final Crisis).  There really is no middle ground.  After reading the entire first issue of HAPPY!, I’m not entirely sure which Grant we’re getting, but I am enjoying him so far. 
The story starts out as a gangster movie/TV Show pastiche.  We seem to be getting gore and sexual situations just because it’s an IMAGE publication, and therefore we can.  Bullets, blood, begging for life, crooked cops, reference to an account with untold riches…then just when you think you've had enough, a cute blue cartoon winged horse shows up.  The ridiculous juxtaposition somehow works.  
Since this is just the first issue, and what seems to be the point of the story has only just appeared, I still don’t quite know which Grant we’re getting.  The situation created has major potential for humor and craziness.  I honestly can’t wait to see where Morrison goes with this.  I actually laughed out loud at one moment while reading, and that was before the horse showed up.  For someone known for craziness, Morrison is actually a very funny guy in person so I’d love to see his humor come through full force. 

Robertson’s art is at an all time high.  I’ve never hated his art, I’ve just never been all that impressed by it before.  He shows more detail than I’ve noticed before, and his characters are a bit more distinctive than I felt they were in the past.  The pages flow great, and for someone who’s known for gritty, dark artwork he knocks the cartoon horse right out of the park.  So, overall I found it really enjoyable, definitely going to be keeping up with this one.  Come on Grant, keep it up.  As usual, I am rooting for you.

A FINE & PRIVATE PLACE #1 by Peter Gillis and Eduardo Francisco (based on Peter S. Beagle’s story)-  I’ve never read the story this was based on, so I don’t know if it would enhance or diminish my appreciation of this adaptation.  It was somewhat confusing at first.  A crow that can carry two pounds of bologna…okay.  Then the crow speaks to an older man in a graveyard.  His name is Rebeck and he lives in a mausoleum at a graveyard.  He speaks to the crow, he speaks to a dead man, and then a lady comes to visit her husband’s grave and he speaks to her.  They seem to hit it off, despite the previously mentioned dead man interfering in the conversation.  Then Rebeck tries to leave with her and something happens.  Maybe.  See Rebeck makes an excuse not to leave with her and she goes without him.  It’s hard to tell if Rebeck can’t leave or won’t leave.  Is he unable to mentally/emotionally, or is something truly trapping him within the walls of this graveyard? The scene isn't clearly played in either direction, so I can’t begin to predict.  It just suddenly ends there with no explanation. 
It almost felt (once again) as if they were writing a graphic novel and decided to cut it into individual issues, without any concern for where it cuts off.  It’s an interesting enough start to a story, it in no way stands on its own though.  Maybe there was supposed to be something played through the emotions of Rebeck’s face in the final scene?  If so, it was not conveyed by the art, which was pretty good by the way, somewhere between Sal LaRocca and Brett Booth.  Maybe the penciller botched that scene, but I doubt it.  If it was intended as an intriguing cliffhanger to draw you in for the next issue, that didn’t work so well either.  If I read further it will be because of everything else in the book besides the ending.  I was enjoying a nice, quiet ghost story and then it just stopped for no discernable reason other than page count.  It's irritating because the story was really feeling like it had something to say, but we are obviously not near the point yet.  This story is so obviously served better by consuming it as a whole, why not publish it that way?  Maybe I will wait for the collected edition and read it at a book store.  

Well there you have it.  Two completely new books, off the beaten path and quite enjoyable in two completely different ways.  Let me know what you think if you read them.

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California's Central Coast but currently resides in Southern California's BEAUTIFUL--San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he's too poor to be a Producer or Publisher.
Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock'n'Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long. 
So now he has come here to throw his opinions in your face as well and hope that, even if you don't agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F---in' rocks, and my Mom can kick your ass.
You can ask Sean anything at contact him via twitter @WWest3001 or boring old e-mail at

Saturday, September 29, 2012

Adventures of Hi-Fi and Lo-Fi in Space- ENDAND make the Transition

Music Review by Joseph Timmons, Xombiewoof.Com Magazine

522322_400364493318973_1955539909_nArtist: ENDAND

Album: Adventures of Hi-Fi in Space / Adventures of Lo-Fi in Space


Daniel Fern: Vox, Guitars

Bill Fitzgerald: Bass, Vox

Mike 'Mikopolis' Morales: Drums, Percussion

Engineered & Mixed by Dan Kramer

Produced by: Dan Kramer for American Glorious Productions

Mastered by: Mark Alan Miller


It is unusual that I get an album that redefines my thoughts on experimental soundscapes, usually, unless an artist or group is very talented or experienced, it sounds much like garbled nonsense or the cracking of pipes. I am very pleased to announce that I have been made into a believer, and that a band can wear more than one hat at a time. I know this may sound cliché, but this group has bridged the barriers of theory and have created a true variant of sound that is timeless yet also has direct connection to their influences.

ENDAND, a group straight out of Brooklyn has a tonal texture that sound like a grouping of decades in music history, although they have been billed as a “post-modern punk” I would say that their influences span from 60’s and 70’ sounds, like Pink Floyd and Frank Zappa through the 80’s and 90’s like The Screaming Trees, Mudhoney and grunge contemporaries through to today’s hard sounds of Soundgarden and mixed music such as Gorillaz and Moby. I cannot pin-point their sound, which is actually a great moment in my career as a music review writer; they keep me guessing, and very entertained.

With songs that cross over and blend in styling that I have yet to find a term to define, their music is direct, poignant and in your ears, with driving beats and rhythms, I find myself drawn in, the lyrics are also well-defined and everything is well mixed and produced, no over sampling or muddy messes of “sludge”, which is music that is so dull it has to be special effected out of existence. The album is actually a dual album – “Adventures of Hi-Fi in Space” sounds to be tracks that are or more modern composure, where as “Adventures of Lo-Fi in Space” are the “Old Vanguard” sounds, reminiscent or the psychedelic era of the 60’s / 70’s, like the message music can bring, their compositions span both time and space, a unique vision in the music creativity and teasing the senses.

Adventures of Hi-Fi and Lo-Fi in Space is a fitting title, the album is a rollercoaster of musical styling and emotion. I had an opportunity to do a phone interview, and found that they don’t take themselves too seriously, no delusions of grandeur or stardust daydream, just real musicians making real music and focusing on the quality of what they do. All experienced musicians with diverse backgrounds, they make it work effortlessly, making their “mastery” sound all too easy, which as a musician myself, is far from the truth.

I look forward to the day I can see them live, I am sure they make their stage presence stand out on its own merits as well as the precision of their playing.

Visit them on Facebook, YouTube and Bandcamp - and you will see and hear the good stuff.


Our Apologies: This Review was previously Published July / August 2012 – but was removed from the Server during a technical audit and was not replaced. It has been re-published in it’s entirety.

Tuesday, September 18, 2012

"Pieces" Music Video Trailer

Devyn Rose Releases "Pieces" Music Video Trailer!


Devyn Rose recently released her new single “Pieces” in preparation for the first of three installments of her EP series, "I AM DEVYN ROSE". Check out the music video trailer; the official music video is set to be released soon!

Devyn plans to release a series of 3 song EPs in three installments starting with the digital EP, "I AM DEVYN ROSE: D.E.V.Y.N.", which features the lead single “Pieces”, and is due to be released in October, with the second and third installments arriving in November and December. - -








Saturday, September 15, 2012

The Sound of the Life of the Mind–Ben Folds Five


120716_bf5_soundlifemindThe Sound of the Life of the Mind 

A New Album that Reveals the Introspective Extravert

Street Date – September 18th, 2012 : Available for pre order at and Amazon.Com

Review by Joseph Timmons – Magazine

Five Stars : vvvvv


Ben Folds Five has enjoyed notoriety with many successful albums and have been welcomed into the hearts of their fans for a wide number of reasons, one of which is they have actual talent and vision in their music's composition and lyrical content.  Ben Folds Five is not to be taken for granted as “sing – song” or “folksy”, they have a message that is felt within. Ben Folds Five, described by some as an alternative rock trio, formed in 1993 ,the group is Ben Folds, Robert Sledge, and Darren Jessee. The group achieved mainstream success in the alternative, indie and pop music scenes. This trio of contemplative genius have come together to put forth and deliver their first album in several years, proving that perfection comes with time and tenacity. Some would think that so many years apart and out of the studio would cause an inability to work together and create the harmonies and pure sound that has been the trademark of Ben Fold Five’s success, yet all that time off hasn't detracted from quirky, and sometimes geeky appeal of the band's piano-driven music.

Ben Folds Five came together to record three new studio tracks for The Best Imitation Of Myself: A Retrospective, a career-spanning Ben Folds anthology on Columbia/Legacy Records. With the band’s magic rekindled while making the new tracks, Ben Folds Five gave its first concert in more than a decade to a spellbound audience at New York’s Mountain Jam Festival on June 2, 2012. Now, Ben Folds Five returns with The Sound Of The Life Of The Mind, the group’s first album of new music in 13 years. First single from the album, which will be the first video from Ben Folds Five in just as many years is “Do It Anyway”,  the band kicked off a U.S. tour September 13th 2012 and will be appearing nation wide to support this album. 

ben folds

Ben Fold Five’s new album, The Sound of the Life of the Mind, is an album that has been a long time coming, a continuation of their ability to captivate the listener into a world full of brightness and emotion.

The compositions, acoustic and ambient in it’s base, resonate and linger in the thoughts. Bouncy and playful, the music keeps in perfect time with lyrics that reach out and find a place in ones life. I listened to each track and found that they had a kindred connection to things I have and still experience in my life, and even with some moments when language can be surprising and unlike an expected thought of what is to come next, each lyric is meant to be there, perfectly placed and enrobed in a sweet melody that makes it a memory all it’s own.

I know, I gush, but my experiences with music have shown me that one can never take an artist for granted, their past measures an either drive them forward or hold them back, but with Ben Folds Five, The Sound of the Life of the Mind propels them into a place where only few can be at any given moment, and that place is in the perfect moment of time.

My only complaint is that the album is too short, even with 9 solid tracks that fill this album with ambient pleasure, it may leave one wishing for a 10th track , so in lieu of this elusive 10th track, I found their Live Stream Video where they discuss what is up with Ben Folds Five, their new album and more, enjoy it, and then go Buy The Album - The Sound of the Life of the Mind , which is available in CD, Vinyl and Digital Download, as well as other Albums by Ben Folds Five.

For tour dates and more visit

Friday, September 14, 2012

It’s all George Lopez, and he’s got nothing but love for ya!


lopez 2

George Lopez: It’s Not Me, It’s You!

Comedy Central Records, recorded during his HBO Live Comedy Special on July 14th, 2012

Street Release Date September 25th, 2012.

Review by Joseph Timmons, Xombiewoof Magazine



lopez01As a comedic entertainer and performer, few men have enjoyed the notoriety and long endured public appreciation as George Lopez, a truly talented and gifted man of the stage and screen who has had hit after hit, his own television show and is a beloved voice actor from many children’s shows and movies. George Lopez has seen and done it all, a personality that is the voice of the people, saying what we would love to say and doing on stage what we only dream of doing.

George has done it again with his most recent offering “It’s Not Me, It’s You”, recorded during his most recent live performance special on HBO and out on September 25th of 2012 on Comedy Central Records. George takes no prisoners in his verbal assault on the wrongs of the world, shedding light and mirth on the day to day realities of keeping it real in this country, dealing with bigotry and above all, being proud to be a hard working Latino, recognizing the achievements and accomplishments of a people he is proud to be a part of.

George Lopez speaks to us as his friends and family, frank and honest, pointing out to us what makes him “tick” and what makes him mad, proving he is still raw and powerful in his comedy, but not just spouting profanities and making it up as he goes along, keeping it real. George talks to us about everything from his youth to today, addressing his heritage and how he views the world. George takes aim at people and politics, the good, the bad and the truly ugly. George, in his trademark fashion makes light of the country’s political issues yet discusses real issues with his audience, working the crowd and with lightning fast reflexes, makes each joke hit home, time after time, never missing.


George Lopez Live

This live album is great in its content and hits home on many levels; it is, as I said before, “Raw and Real”, very ethnic on many levels but not exclusive. George Lopez involves everyone who listens as part of his world, rich and diverse, like the world he is part of.

Visit his site and the Comedy Central Website for more information on George Lopez, his appearances and his release dates.

Click Here Buy His Videos and Albums



New York Comedy Festival



Comedy Central’s Keegan-Michael Key and Jordan Peele from the Network's Hit Series Key & Peele To Headline Free Comedy Week Show on Wednesday, November 7, at 8pm at the NYU Skirball Center for the Performing Arts.


NYC & Company, New York City’s official marketing, tourism and partnership organization, New York Comedy Festival and Comedy Central today announced the second annual Comedy Week, November 5–11. On the heels of Election Night, Comedy Central’s sketch-comedy duo, Keegan- Michael Key and Jordan Peele, from the hit series Key & Peele will perform a free Comedy Week show as part of the weeklong celebration on Wednesday, November 7, at 8 pm at the NYU Skirball Center for the Performing Arts. In addition, more than 175 comedians will be in New York City to participate in the New York Comedy Festival, performing at some of New York City’s most iconic venues, including the Apollo Theater, Carnegie Hall, the Beacon Theatre, Madison Square Garden, Town Hall and Carolines on Broadway.

“From live television and theater to comedy clubs and performance artists, comedy is embedded in the fabric of New York City all year-round,” said NYC & Company CEO George Fertitta. “We are proud to again present Comedy Week to provide New Yorkers and visitors opportunities to experience some of the funniest performers in the world as they showcase their humor and entertain audiences across the five boroughs.”


Live Comedy in NYC

“We’re thrilled to be partnering with NYC & Company again to present Comedy Week in New York City,” says Caroline Hirsch, founder and owner of Carolines on Broadway and the New York Comedy Festival. “Once again, working with Comedy Central and NYC & Company, we will shine a spotlight on and bring awareness to comedy in New York and what it means to this city. Comedy is a vital part of this city’s economy. With all of the late- night talk shows, sitcoms, feature films and live stand-up performances, New York truly is the comedy capital of the world.”

Tickets for the free Comedy Week show will be given on a first-come, first-served basis and can be reserved starting today at* After 550 tickets are claimed, additional tickets will be available through a Comedy Week sweepstakes and then through Twitter giveaways (follow @nycgo).

The second season of Key & Peele premieres on Wednesday, September 26, at 10:30pm ET/PT on Comedy Central. Fans can look forward to the return of President Obama’s “anger translator,” Luther, as Key & Peele continues to tackle issues like race relations in a less-than post-racial society and focusing on culturally relevant characters such as Steve Jobs and the King of Pop himself, Michael Jackson. Click here for more info on the show--

This year Comedy Week will expand to include a series of free events across the City, including special comedy tours with Gray Line New York Sightseeing, a new mobile comedy scavenger hunt by Stray Boots, special New York City–themed shows at Upright Citizens Brigade and more. Full details will be announced in October at

The New York Comedy Festival, November 7–11, is one of the world’s top comedy events, attracting more than 50,000 attendees in 2011. Comedians who are scheduled to perform in this year’s festival include Ricky Gervais, Robin Williams, Aziz Ansari, Adam Carolla, Bill Maher, Kevin Hart, Rob Delaney, Jim Gaffigan, Artie Lange, Patton Oswalt, Brian Regan and Marlon and Shawn Wayans. A full list of New York Comedy Festival performances can be found at, and additional shows will be announced in the coming weeks.

For more Comedy Week information and to register for the free Key & Peele event, visit

About NYC & Company:
NYC & Company is the official marketing, tourism and partnership organization for the City of New York, dedicated to maximizing travel and tourism opportunities throughout the five boroughs, building economic prosperity and spreading the positive image of New York City worldwide. For more information, visit

About The New York Comedy Festival:
Now in its ninth year, the New York Comedy Festival is produced by Carolines on Broadway in association with COMEDY CENTRAL. The festival has featured the country’s top comedians, including Louis C.K., Bill Maher, Ricky Gervais, Kathy Griffin, Dane Cook, Sarah Silverman, Aziz Ansari, Wanda Sykes and Joel McHale, to name a few. In 2007, the festival launched the “Stand-Up for Heroes” event to benefit The Bob Woodruff Foundation, which has featured performances by Robin Williams, Jon Stewart, Jerry Seinfeld, Lewis Black, Ricky Gervais, Conan O’Brien and Bruce Springsteen. The festival is produced by Carolines on Broadway. Sponsors are Citbank, Klondike, JetBlue and Svedka Vodka. The media sponsors are New York Post, Time Out New York, Variety and the Village Voice.

About Comedy Central:
Available on-air, online and on-the-go, COMEDY CENTRAL ( is the #1 brand in comedy and is owned by, and is a registered trademark of, Comedy Partners, a wholly-owned unit of Viacom Inc. (NASDAQ: VIA and VIAB). For up-to-the-minute and archival press information and photographs visit COMEDY CENTRAL's press Web site at and follow us on Twitter @ComedyCentralPR for the latest in breaking news updates, behind-the-scenes information and photos.

*Tickets for the free Comedy Week show are available while supplies last. Seating is not guaranteed. Seats will be available on a first-come, first-served basis.

Click Here to see the growing list of event shows and the performers who are coming to NYC to make you laugh harder than ever !

Khatia Buniatishvili Dedicates her Second Album on Sony Classical To Chopin



Khatia Buniatishvili Dedicates her Second Album on Sony Classical To Chopin

Available September 18, 2012


KhatiaB_SONY_cEstherHaase__0383“Chopin’s music is like a breath of a young soul, with no time to be indifferent to love”

-Khatia Buniatishvili

Khatia Buniatishvili has been described by The Independent as “the young Georgian firebrand.” At only 24 years old, this Tblisi-born pianist has already achieved an exceptional maturity of interpretation and a distinctive artistic approach that make her playing unmistakable. For her second album on Sony Classical, Khatia now releases Chopin on September 18th, 2012.

The album encompasses five works superbly showcasing the breadth of her skills as a pianist. Chopin’s Sonata No. 2, op. 35, in formal and pianistic terms, is one of the most consummate works of the post-Beethoven period and above all known for its fascinatingly, strangely scurrying finale, which Robert Schumann compared to the mocking smile of a sphinx. The unprecedentedly lavish Ballade No. 4, op. 54 is extremely demanding, both technically and artistically. Waltz No. 2, op. 64, is suffused with Slavic heavyheartedness, while Mazurka No. 4, op. 17 concludes enigmatically, as if with an open question. This Polish folk dance is also the basis for the finale of Chopin’s Piano Concerto No. 2.


KhatiaB_438_SONY_04_0078_creditEstherHaaseKhatia, who lives in Paris and speaks five languages, made her debut as soloist with orchestra when she was only six years old. Before the age of ten she received her first invitations to play in Germany, the Netherlands, Belgium, Austria, Switzerland, France, Italy, Israel and the United States.

Khatia is not only a third prize winner in the 2008 Rubinstein Piano Competition, but also a recipient of the award for the best Chopin interpretation. In 2010, she received the Borletti-Buitoni Trust Award and was included in the BBC New Generation Artists series. Since then, Khatia’s career has advanced into a new dimension: she has played with Paavo Järvi and Kent Nagano, among others, and in 2011 opened the Ruhr Piano Festival.

In the current season, Khatia is the “rising star” in Vienna at the Musikverein and Konzerthaus. She is performing recitals in Berlin, Vienna, Amsterdam and Paris, as well as at the Wigmore Hall and is a guest at the festivals in Schwetzingen, Lucerne and Verbier. In October, Khatia makes her debut with the Munich Philharmonic and the San Francisco Symphony.



From Artist Video Collection




Track listing:  Khatia Buniatishvili, Piano

*Orchestre de Paris, Paavo Jarvi




Waltz in C-sharp minor, op. 64/2 - 1. Tempo giusto

Sonata No. 2 in B-flat minor, op. 35 - 2. Grave - Doppio movimento - 3. Scherzo - 4. Marche funèbre: Lento - 5. Finale: Presto

Ballade No.4 in F minor, op.52 - 6. Andante con moto

Piano Concerto No. 2 in F minor, op. 21* - 7. I. Maestoso - 8. II. Larghetto - 9. III. Allegro vivace

Mazurka in A minor, op.17/4 - 10. Lento ma non troppo


U.S. Performance:

Oct. 18, 19, 20 – San Francisco, CA

Davies Symphonie Hall

Rachmaninoff: Piano Concerto No. 2

Conductor: Vladimir Jurowski

Visit her website and listen to some of the most exhilarating music by a woman whom is being recognized as innovative and an incredible, emotionally driven performer destine for worldwide acclaim.

Tuesday, September 4, 2012

Editorially driven... by Sean E.Stoltey

Sooooo, Rob Liefeld's at it again.  Being controversial and stuff.  Does anyone really believe his shtick anymore (and I'm wondering, as well, if he even does)?  Complaining about editorial interference in his work at DC.  This made me run off on an interesting (at least to me) train of thought.  When you go to work for a big comic book publisher on one of their many pre-existing, ongoing properties; do you really expect them to let you do what ever the ---- you want?  

Now, in the case of Rob Liefeld, a very "special" case if there ever was one, the obvious issue is the ego of the creator involved.  By many accounts, Rob is pretty sure he is the best thing to happen to comics since Jack Kirby.  So of course he bristled at an editor telling him what he should do on a comic book.  "Don't you know who I am?  I created Youngblood!!"  "Who's that, Rob?"  "Hmm.  Oh yeah!  Don't you know who I am?  I co-created Cable!"  "Whatever you say Rob.  We're here to talk about your handling of these DC characters who've all been around a lot longer than Cable."  But seriously, I didn't come here to talk about Rob Liefeld.  It's the concept of editorially driven that I find interesting.

It seems to me that the books can go one of two ways, with many varying shades in between of course.  On the one hand, you have a story or even a full fledged book that originates with a writer or artist or both, or one person doing both.  That's where most creator owned and independent work lies.  Which is of course implied in the term "creator owned", duh.  In this case, the writer and artist are in complete control of their creation and, presumably, the editors role is mostly to keep everybody on course and hitting their deadlines.  They might take creative input from their editor, but when it comes to the creative content, the creators are the final word.  In the case of a company owned book, a Marvel or DC character or something like that, it would be a bit different.  If the editor chooses, they can allow the talent to steer the ship.  However, the editor still has final say on what can and cannot be done on the book.  They would be much more of a collaborator (if they wanted) and they can veto creative decisions.  In this situation, they are responsible to the company they work for on all decisions made on their books.  When the s--- hits the fan, they are the ones that take the heat.  Which is probably why a lot of them might choose to go the other way.

In a truly editorially driven book, the creative direction of the book is mandated by editorial.  In some cases it comes from above them on the company food chain.  They basically tell the writers what they want and where the book needs to go.  Some people have complained that the editor basically wants a typist.  That could be oversimplifying it, but I could definitely see how frustrating it could be for a writer.  You have decided to create for a living and now someone is telling you what to create and how to create it.  Unless you're Grant Morrison apparently; but then he presumably makes that part of his contract, and the powers that be feel his sales warrant that situation.  My opinion?  I think the better editors find some sort of happy medium.  Especially when you are working in an established, company owned universe.  First off, there are rules you have to follow.  These are company assets, you can't do whatever you want.  Many say though, that having rules imposed makes you work harder (and often better) to find a way to work around the rules.

Quite often filmmakers speak about how they had to come up with alternatives because of budget constraints and their alternate choices made the film better.  Hell, the main reason you don't see the shark through most of Jaws is because it didn't work.  That choice to work around the shark made it much more terrifying.  Many musicians do their best work when others are producing.  When they are given the reins a lot of them never quite match the quality of their earlier output.  Some do, don't get me wrong.  I think the challenges imposed on some writers have created a lot of great work.

So to move back to comics, an editor that knows he can trust his writer will let his writer loose.  Within reason.  Also, as long as the people above you are trusting you to do your job, you are more likely to trust the people below you.  Just as having constraints put upon you can make you work harder and more creatively, knowing you are being entrusted to care for these iconic and (to the company) important properties might just motivate you to put your best foot forward.  A lot of these "editorial" complaints from the folks working for DC seem to indicate the real mess is above editorials pay grade.  It's unfortunate.  I always felt that if I was paying someone to do a job, I should let them do it.

So which way is the better way?  Whichever one produces the best story, honestly.  Some classic comics have come from both styles, and every shade in between.  Remember, Alan Moore made Watchmen at a big company with an editor who was in charge.  He also made League of Extraordinary Gentlemen with little to no editorial input, and that turned out pretty damn well too.  However, I really do think that the best editors int he business have always found a balance.  A way to serve both sides of the equation.  You can have happy bosses and happy creatives.  It is possible.  I would never fault anyone for the style of management they choose, as long as it was a job well done.  Sometimes I think it's best if those of us outside the system don't hear about it.  Hey, you don't want to know how hot dogs are made.  You may never eat one again.

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California's Central Coast but currently resides in Southern California's BEAUTIFUL--San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he's too poor to be a Producer or Publisher.
Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock'n'Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long. 
So now he has come here to throw his opinions in your face as well and hope that, even if you don't agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F---in' rocks, and my Mom can kick your ass.
You can ask Sean anything at contact him via twitter @WWest3001 or boring old e-mail at