Out of all forms of comedy, observational humor has always topped my personal preference list. One of my favorite evergreen pieces is George Carlin's "All My Stuff", which is based on a simple premise. The compressed version of "All My Stuff" pinpoints our penchant for acquiring "stuff" and, not too surprisingly, running out of room to accommodate it.
There's a wide variety of "stuff" and an even wider variety of reasons we hang on to it. Certain items fall into the "What the hell did I save THIS for?" category. But even these items require an elapse of time before you shake your head and pitch them in the dumpster.
Personal memorabilia is the next, and in most cases, largest category. No matter what you've spent your life doing there's always stuff that reminds you of pleasant times, personal accomplishments, etc. Unfortunately these items too, will eventually make their way to somebody's dumpster because your heirs won't have any room for it either.
Last of all, there's "real valuable stuff". The question here is why and to whom it is valuable. Obviously you thought it was valuable but does anybody else?! The bowling ball clock that the V.F.W. awarded Uncle Harry will, in all probability , just make a bigger crash in Cousin Willy's dumpster a few years after the reading of the will.
During the past fifty plus years of painting banners and show fronts, I've accumulated an enormous pile of drawings, created for my own use as an aid to laying these things out. I try not to duplicate any of my drawings, as I find the challenge of presenting the various stock characters in new settings and more interesting poses keeps my interest level peaked. Although the acts in a sideshow are pretty much alike, (a fire eater, a sword swallower, etc.), they will get more attention from the public if they're given a different slant. My personal enjoyment comes from the mental exercise involved in creating a "new sell".
It stands to reason that some clients aren't up for new, innovative portrayals of standard stuff. Some are traditionalists and some, lacking any imagination, recoil in horror if what you're proposing doesn't look like every other banner or show front on the midway. You learn to deal with this because you develop a fondness for eating regularly and besides, as your career moves ahead, you start finding clients who have more confidence in your ideas and your ability to present them.
Considering the fact that I've spent at least half of my life living in cramped circus sleepers and travel trailers, it's a wonder that I managed to save many of my drawings, but I did. About three houses ago I felt that I'd hit the space jackpot. But the feeling was fleeting as, much like Carlin's revelation, I was still confronted
with excess "stuff", including all of the many potfolios crammed with drawings. Some are preliminary pencil roughs, many are finished pen and ink pieces and there are ink and watercolor renderings as well.
Over the years gallery owners whose establishments featured my banner shows have wanted to buy all or part of the collection. Likewise fans and collectors. I declined the offers, mostly because I've never completely sorted it all out or concluded which ones I found to have enough personal significance to keep.
The drawings are now sorted out. Quite a task, as each one has it's own story to tell. Where was I when I did this one? Who was the client and how many other pieces did I do for them? What show did I go out with that season? As some of you know, there are numerous answers for all of the preceding self-posed questions, for example "Where was I?" I've had studios in several locations, but have also painted banners at the Smithsonian and done large scenic work in theme parks. "Who was the client?" The answer there ranges from Neiman Marcus to Dippy Dan the Reptile Man. Lastly, "What show did I spend the road season with, (and what did I do there)?" Responding the THAT one could easily fill another News Letter!
Save for the drawings that my wife and I have decided to keep (a fairly modest amount compared to what I started with), I'm offering the rest for sale. All of them are signed and some are dated. They vary in size and the medium used. I'm compiling short, informative bits of information to accompany each piece.
So there you are and Bob's your uncle, (An english phrase that I'll expliin in another newsletter). The bally is over, now I'll now move on to the "turn".
There are 120 drawings, so, to determine which pieces you'd like, contact me at:
E.MAIL ADDRESS:
johnny@czarofbizarre.com
-------------or----------
HOME ADDRESS:
Johnny Meah
315 5th AVe. N.
Safety Harbor
Florida 34695
I'll mail you a complete list of drawings, including description, size and medium used and prices.
Offers for entire collection considered.
