Drafted The story of One Man’s time in the Military

Between 1964 and 1973 some 2.2 million American men were drafted into the U.S. military to fight in the Vietnam War, the graphic novel by American artist, writer, and cartoonist, Rick Parker, Drafted, is his personal story of his time in the Military.

For those of you (like myself) who know of Rick from his many years working on numerous Marvel comics (including the Beavis and Butt-Head comicbook), his various Papercutz comics and graphic novels, or perhaps his artwork which has appeared in various publications, including  The New York Times, The Village Voice, Time, Life, U.S. News & World Report, or other publications he is a talented cartoonist with a very sharp wit. Parker began his professional work at his start at Marvel Comics, in the late 1970s as a letterer for, working quite a bit for Spider-Man editor, Jim Salicrup.

He also was one of the four original artists of The Pekar Project (SMITH Magazine, 2009–2010), which brought the writing of the American autobiographical comics pioneer Harvey Pekar to the web. In addition to his extensive Marvel work, he went on to again work for Salicrup  over at Papercutz, where he not only drew the introductory pages of Tales from the Crypt, but  illustrated a series of graphic novel parodies—written by Stefan Petrucha including Diary of a Stinky Dead Kid (2009), Harry Potty and The Deathly Boring (2010), Breaking Down—a parody of the Twilight series—(2011), Percy Jerkson and The Ovolactovegetarians (2011), and The Hunger Pains (2012).

After years of working for other companies on other people’s properties In 2024, Rick decided that it was time that he worked on a project of his own. He wrote and illustrated a 256-page graphic novel about his time in the U.S. military during the Vietnam War. To be sure, while Rick did serve in the Army for around three years during that conflict, he wasn’t actually deployed into a war zone or overseas, but was stationed here in the U.S. In his eye-opening, and often entertaining, and disturbing tale, Rick relates the story, a shy, inexperienced, and overly protected teenager from Georga, who got drafted into the United States Army at the height of the Vietnam War and weathered out his time without it seriously damaging his true self.

Rick begins his tale from the time he graduated high school and entered a local community college. However, However, shortly after turning 18, his draft number came up, and he was having so much difficulty with his studies, that he wound up flunking out of school. However, he was bound and determined to reregister as soon as he was able, but it was to no avail, as he was tapped by Uncle Sam to enter the military, something he did with no small amount of trepidation. From here Rick goes through the many steps of transitioning from civilian life to the early days of being inducted not the military, and how disorienting that was. He described in detail how those initial days in boot came were, and if you ever saw any military films where bootcamp was depicted, then you have a pretty good idea of how those days were for Rick.

From Georgia, Rick went for his training into South Carolina, and as he had served two years in high school in ROTC training, he was immediately promoted to squad leader. Here again, Rick went into all sorts of daily details of what training was like, as well as his thoughts, and concerns as he moved through his day-to-day life. This included everything from digging fox holes, to marching, to learning to fire all sorts of weapons (including bazookas) and driving a tank, to going out and drinking with his patrol mates.

Eventually Rick was transferred to an army field artillery unit in Oklahoma, where he went through officer training. There he and his contemporaries were put through more training, hazing, workouts, getting yelled at by their superior officers, and cleaning everything, to within an inch of its life. In camp, everything was regimented, how you sat, how you spoke, how you cleaned, how you walked guard duty, and even how you prayed at mealtimes. Rick recorded it all.

One area where Rick had difficulty was targeting the howitzers, as this required a working knowledge of trigonometry, a subject that Rick had repeated difficult with. Later on, during a war game exercise, Rick got separated from his team and was captured by the opposing forces. He and the others captured were herded off to a mock P.O.W. camp where they were “tortured” by their captors, much in the same way the Viet Cong would torture them if they were caught in actual combat.

Eventually Rick and a fellow captor were left alone in a secure area where there was a hole n the ground. The pair of them saw it as a way to escape, and each crawled into the pit and out through the tunnel below ground. Unfortunately for Rick, while his companion went in head first and was able to crawl his way out, Rick mistakenly chose to go down into the hole feet first, and as there was no way to either crawl out, or turn around, he was forced to crawl feet first through the length of the tunnel to the exit to escape. Once out, the pair eventually made their way back to their own lines.

From here, Rick was transferred to missile school which indicated that he wouldn’t be going to ‘Nam—which relieved both him and his mother. In his new billet, life was a bit easier, as he was commissioned as a second lieutenant. During this time not only was President Kennedy assassinated, but Martin Luther King was also shot and killed. In addition to this, one of the soldiers at the base was also killed in a motor vehicle accident. Rick described each of these incidents and how they affected him at the time. He also related how he was asked to draw pictures of several of the men in his group, Rick even related an incident where he met a local girl and lost his virginity to her.

Shortly after that his group was transferred to Utah to meet up with a German NATO team to practice transporting a Pershing missile. Unfortunately, before the missile was fired, Rick was transferred back to Fort Sill, and he never got to see the missile fired. While back at the fort, while the rest of his group were still out on maneuvers, Rick was the highest-ranking officer on the base, which caused him to be called to deliver news of the unfortunate death of a soldier to the dead man’s wife, who was still in the hospital shortly after having delivered their baby.

As Rick’s time in the military drew to a close, he detailed a number of his remaining duties, including conducting a funeral ceremony for a soldier who was felled in ‘Nam, and to present the flag that covered the soldier’s coffin to the man’s four-year-old daughter.  That final act completed, Rick made his way back home by a rather roundabout route where the story finally ends.

Having grown up during that same time period, but having missed out on being drafted myself (I’m just a tad younger than Rick, and thus turned 18 shortly after the draft had ended) I was singularly unaware of what military life had been like during that era, and was rather surprised and shocked by quite a bit of Rick’s experience. Still, I found his story not only interesting, but engaging, and very well told. As a cartoonist, Rick’s art had a “cartoony” style to it, rendering it not so much like Beetle Bailey, but not quite like Marvel’s The ‘Nam either, softening some of the harsher elements, and making the whole thing relatable to the reader. All-in-all, it proved to be a thought-provoking and noteworthy tale that is well-worth reading.

Yi Soon Shin: The Fallen Avenger

This piece is another in a longer line of older articles/interviews of mine that appeared elsewhere. I am re-posting it here to not only refresh it, for those who may have missed it the first time around, but in an effort to consolidate my online work under my own imprint. This interview was conducted back on May 13^th, 2015 with Onrie Kompan.

Given that this article is over seven years old, not only is the Kickstarter that Onrie talks about over, but some of the links from the original interview no longer work. 

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As Americans, we tend to think that all the really cool historical stuff happened here in America, or (at the very least) to Americans. Well that isn’t so much the case, as is evidenced by Yi Soon Shin: Warrior and Defender published by Onrie Kompan Productions in 2013. If you missed it, that lushly rendered hardbound graphic novel that was a compilation of the four-issue limited series told a historical accounting of one of Korea’s most celebrated heroes, Yi Soon Shin. It was Yi Soon Shin who defended his country from a Japanese invasion in the year 1592. The epic story was filled with fully formed characters, internal deception, political intrigue, and some of the most spectacular battles scenes that you are every likely to see in comics, and depicted a magnificent rendering of an amazing battle which took place on the open sea and on land between the massive invading forces of the nation of Japan, and the (much smaller and not as well-equipped) Korean forces.

Kompan is now running a Kickstarter to help fund a follow-up story arc with Yi Soon Shin: Fallen Avenger. We recently caught up with Onrie Kompan who filled us in on why an American audience has gone positively Gaa-gaa over a 16th Century Korean General.

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Robert J Sodaro:  As Americans, we tend to think that all the really cool historical stuff happened here in America, but the story of Yi Soon Shin clearly takes place in Korea. Can you give us a bit of the background about the story behind Yi Soon Shin?

Onrie Kompan:   Yi Soon Shin is literally Korea’s version of Batman. He’s one of their most profound heroes and not for just any reason. Yi Soon Shin defended Korea from an invasion from Japan. Imagine hordes of Japanese samurai were beaten 23 times in a row against Yi Soon Shin who was literally outnumbered 10 to 1 against them. He’s the man!

RJS:  What caused you to pick this story to tell in comicbook format?

OK:  I wanted to show that more could be done in comics aside from superheroes; but beyond that, I wanted to show that real heroes actually exist and are just as cool (if not cooler) than superheroes because they are real. Comics felt like the perfect medium to show this.

RJS: Do you think that we as Americans are interested enough in a war story between Korea and Japan that took place in the 16th Century?

OK:  The American audience is always hungry for new stories! They always have been and they always will be. And let’s be honest, we’ve heard it all already. I’m not saying it’s impossible but it’s really difficult to stay fresh these days when it comes to storytelling. I was willing to venture out of my comfort zone to discover the story of Admiral Yi. And despite how crazy I might sound when saying this, I believe that one day people will be so into this series that they’ll praise it the same way they do Star Wars or Game of Thrones. I just hope I’m alive long enough to see it so I can cash in on it!

RJS:  What is it, do you think, that is it about this story that makes it so compelling?

OK:  It’s the greatest underdog story never told! It’s a human story about a man who sacrificed everything for what he believed in — a man who was an incorruptible force that stood before the face of evil—and won! You couldn’t make this kind of stuff up because it ACTUALLY happened. The whole world deserves to know about this!

RJS: Do you believe that history (either Korean or American) can be taught through comicbooks?

OK: People always ask me that and the real answer is, I don’t know. I didn’t make this comic to educate people. I made this comic for the same reason all creators make comics — because they want to entertain.

We try and avoid the word “history” wherever we can because that is an automatic turn-off for a lot of people. History itself is fascinating to some but to many others, it can be boring.

But to answer your question, if a first-grade teacher brings Yi Soon Shin into a classroom, there is a good chance that they will lose their job. This is a story about war and war is ugly. People ask why there is so much blood and gore in our comic and the reason is because well…it’s war.

Our story is about how real people dealt with war and how others used war to their advantage so that they could manipulate people and have their way. Like I said, it’s a human story. This is what people do during times of war. It’s every man for himself. What sets Yi Soon Shin apart from the entire cast is that he’s the only character in our book that is trying to protect people. Everyone else is in it for themselves.

RJS: Comics are essentially known for superheroes in tights. Do you honestly believe that the medium can expand beyond this and be taken seriously by the mass market?

OK:  I think we’re seeing that happen today. Look at all the superhero movies out there and how they are marketing knick-knacks towards both kids and adults. Gillette is now selling Avengers shavers. I bet nobody saw that coming back in 1962.

 

RJS:  As a rule, more people have seen even one of the big-budget superhero movies than read all the comics on which it was based, why do you think that comicbook movie ticket sales don’t translate into comicbooks sales?

OK:  I ask myself that very question quite often. Perhaps people see the comics as a lesser version of the movie. Perhaps the majority of comics aren’t as great as we all wish they were. Or maybe the comic book community isn’t inviting enough to new readers because they don’t want to be seen as nerds for reading them. Maybe I’m completely wrong or maybe I’m 100% on point.

The truth is I don’t have the answer to your question. But every time I go to a convention and someone who has never read comics before in their life buys my book, I hope that our work has the power to change their minds and open up that door for them.

And more importantly, I hope that they start by supporting independent comics rather than just jumping on the bandwagon of mainstream. There is a lot of great independent stuff out there that deserves way more attention.

 

RJS:  You mentioned earlier that you hope you can translate Yi Soon Shin into a big-budget film or a TV/Cable series, you have anything like that in the works?

OK: I believe it will happen eventually once we finish our work on the series. Honestly, I see it as a trilogy of movies. Call me crazy but I want Yi Soon Shin to be the next Star Wars. As for when that will happen, I can’t say but I hope I’m around to cash in on it and that I get to play a role in its production.

 

RJS: Tell us a bit about how you went about assembling your team for Yi Soon Shin.

OK: Great question and one I’m always happy to answer. It was really a two-year long process. I spent a lot of time studying trends in comics and looking for art styles that I knew had the potential to stand out.

When the time came to start building out the team, I posted ads on sites like Digital Webbing and Deviant Art and went through a slew of very bad portfolios. I was hoping my idea would attract a big-name artist but even they weren’t interested.

Then one day, I got a submission from Giovanni Timpano, an artist from Italy who was hungry for work. After that, things sort of came together rather quickly. My friend, Alverne Ball introduced me to his colorist, Adriana De Los Santos, and was totally fine with me hiring her to do work on the book. Check out her work on Alverne’s series Virgin Wolf.

Adriana then introduced me to Joel Saavedra who is our letterer. Finally, I realized that after getting rejected by damn near every publisher out there, that I needed an editor to show me the ropes. I became friends with Papercutz’s Jim Salicrup through Facebook and he put me in touch with his good friend, comics’ veteran David Anthony Kraft.

Eventually, we brought on a second artist named El Arnakleus for Fallen Avenger. We wanted to give the book a different feel and his style meshed perfectly with Giovanni’s. I like to say that Gio is my Steve Ditko and that El is my John Romita.

RJS:  Tell us a little about their (and your) backgrounds.

OK:  I’m a Chicago native and Yi Soon Shin is my first entry into comics. I’ve been working on the series for the last five years and have been putting it out myself. Everything from concept to final product has my hand in it somewhere and if you see me at conventions, then you know that I also handle selling it. I’ve sold nearly 40,000 books.

Giovanni Timpano is our artist from Italy. He’s currently working on The Shadow for Dynamite and has an extensive portfolio. He’s worked on GI Joe, Hellraiser and much more. El Arnakleus is heavily inspired by Frank Frazetta and brings his artistic influence to the series. Adriana De Los Santos is our colorist from Argentina, and she turns every page into a painting. Joel Saavedra is also from Argentina, and he letters the book.

And finally, my editor/co-writer David Anthony Kraft is a veteran of comics. At some point or another, he has edited every Marvel Comics character you can think of. He had a very memorable run on She-Hulk and The Defenders (which is soon going to be a Netflix series) and went off to run his own publishing venture called Comics Interview.

Everything I learned about storytelling, production, and publishing is thanks to DAK. I enjoy working with him very much and I respect him immensely. In fact, I respect everyone on my team immensely. They put everything into this book and it’s not an easy comic to work on at all. Our production process is grueling compared to other titles because I demand the best and they are willing to give it to me. No matter what it takes.

RJS:  Are you approaching this story like a “standard” comic (whatever that may mean) or more like a history lesson?

OK:  Curse the dreaded “H” word!

Given all the blood, gore, and sex in our book, I have to say that we’re definitely straying away from this being a boring high school history lesson. That is the one thing we are really trying to avoid. History is boring. Most people don’t want to learn while reading comics. They want to be entertained. That being said, if our book entertains readers enough to get them to do their own research, then that’s an added bonus and we’ll happily take credit for it.

All we want to do is make a great comic series so I wouldn’t say our approach is standard either. We work using the classic Marvel method. DAK and I work scene-by-scene so that we get the most out of everything. It’s a very challenging book to work on but one that has taught me a great deal about comic book production. I’ve enjoyed every moment of it despite the challenges I’m faced with.

RJS:  You already have one story arc of Yi Soon Shin out, and now you are working on a second arc. Do you see this going onto more multiple arcs?

OK:  Yi Soon Shin is a trilogy and right now we’re gearing up to wrap up the second arc. After that, we’re planning one more arc that will conclude the entire series. Eventually, if the opportunity arises, I’d like to do a prequel trilogy about what happened prior to the war so that readers can get more insight about the origin of Admiral Yi. But we’ll cross that path when we get there. Right now, our focus is on finishing the trilogy we started!

RJS:  Will you attempt to mine Korean history for more comicbook stories?

OK:  Korean history is very expansive and there are a lot of wonderful stories but I don’t believe in genre mining. Like I said, history can be boring and if it’s approached without passion, readers will get bored. My job is always to entertain my audience first and I believe the best way to do that is to venture towards topics that pull my own interests. I don’t like the idea of being categorized as a genre writer either. I’m willing to write anything so long as there is a story to tell, even if it’s about superheroes.

RJS:  How is the series selling?

OK:  To date, we’ve sold close to 40,000 books without a publisher or distributor.

We decided to use conventions to reach our customers directly and while our sales at shows, Amazon, and select retailers have been great, the truth is that it’s impossible to make money when we’re in this position.

Our funding recently fell through for reasons unrelated to the book’s success but I’ve come so far with Yi Soon Shin that I have to see it through to the end for the sake of all the readers that have supported our series over the years. Therefore, we launched a Kickstarter initiative to keep this series alive and finish what we’ve started. We invite everyone to join the fight and help us win this battle!

RJS:  When can we expect future issues?

OK:  Yi Soon Shin: Fallen Avenger #4 is the issue we’re currently working on. It’s going to be a 48-page book with no ads in it. This is the book we’re focusing on for Kickstarter and folks can be a part of it by funding the Kickstarter. As far as what to expect from this issue — expect it to be bloody, brutal and the Greatest issue of the series yet. Why? Because in this issue, Admiral Yi is going up against a Japanese armada of over 333 ships with only 12 ships at his disposal. He’s been beaten, bloodied, and broken and now he’s pissed. Readers are going to learn from this book why he is such a great hero.

Fallen Avenger is really a homage to Frank Miller’s Daredevil: Born Again arc in the sense that both stories feature protagonists who have been broken but are unwilling to accept defeat.

RJS:  Where can fans get their own copies (are you selling online, is it stocked in stores, are you attending cons, and if so, can you give us your schedule for the year)?

OK:  We invite everyone to check out our webstore. I will personally sign and ship your books around the world. As far as conventions go, I will be attending Motor City Comic-Con, Phoenix Comic-Con, NY Special Edition, SDCC, Wizard World Chicago, Baltimore Comic-Con and NYCC. I will also be doing a few store signings in both Chicago and New York. The rest of the time, I’m going to be focusing on production as well as my next few projects.

RJS:  What’s next for you?

OK:  I recently launched Freedable Comics which is a site I co-created to help independent creators like myself get their work out there. The beautiful thing about Freedable is that we collect data from our readers and provide creators with this information for free so that they can learn more about their demographic. It’s a free tool for creators to help aid them in their creative endeavors and it’s also free for readers.

I am also finishing up a 144-page graphic novel that I’ve been working on since 2011. JM DeMatteis is the editor for the book, and it features artwork from some of the finest artists in comics. We’re working on the final segment of the book right now and then we’ll be shopping it around to publishers. I’m hoping to get it out later this year or at the very latest, sometime in early 2016.

I’m also working on a third project with a Chicago-based artist that I’ll hopefully be able to announce sometime later this year and I’m trying to get my foot in the door with a fourth project from a more well-known publisher.

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Yi Soon Shin, and all artwork associated with the character, is © & TM 2015 Onrie Kompan Productions. All rights reserved.

The Sea Wolf gets the Classic Illustrated treatment

Presented here is an article I wrote back in 2014 for a different website. I am in the process of consolidating as much of my work as possible so as to keep it available in a single spot. This is an article I did about Papercutz’s graphic novel version of Jack London’s The Sea Wolf.

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The Sea-Wolf is a classic bit of American literature that was written in 1904 by American novelist Jack London. The core of the story concerns a literary critic named Humphrey Van Weyden, who is the survivor of an ocean collision of a San Francisco ferry and a freighter. Quite unfortunately for Van Weyden, while he is rescued from a watery grave, it is by a powerful and amoral sea captain named Wolf Larsen who then puts Van Weyden to work aboard his Schooner as he continues his voyage on towards Japan to hunt seals.  From the moment of its release the book was hailed as an American classic (selling out almost immediately of its initial printing of 40,000 copies). It also spawned 10 theatrical films (six in the U.S.), as well as three TV mini-series (one in the U.S.).

Now this seminal work of American fiction is getting the Graphic Novel treatment from ClassicsIllustrated from Papercutz. The graphic novel, illustrated by Algerian artist Riff Reb (whose real name is Dominique Duprez). Reb — who was born in Algeria, but moved to France during his childhood — has delivered an amazing adaptation of this timeless story, rendering London’s profoundly psychological adventure with an amazing power and eloquence in 144 pages matching the raw power of London’s original work (no mean feat, to be sure). The power of Reb’s art conveying the helplessness of the upper class Van Weyden (whose name gets shortened to “Hump” for the duration of his voyage) who is held captive on board the Ghost and forced into a hard and terrifying life at sea by the captain.

Unused to physical labor, Hump is pressed into service, first as a cabin boy, then in other services as he is promoted up the ranks of shipboard jobs during his “stay.” Needless to say, it takes him quite a while to not only get his sea legs but to learn how to perform the various physical tasks that are thrust upon him. As his forced servitude wears on, Hump discovers that in spite of Wolf Larson’s harsh exterior, he is actually something of a learned man, having read numerous authors and books, including Shakespeare, Tennyson, Poe, De Quincey, and others. Larson, as it turns out, is an individualist, hedonist, and materialist, who simply does not believe in the immortality of the soul. He is a man who finds no meaning in his life (even his own) save for survival and the pleasures of the moment. Furthermore, he has come to not only despise all human life but to deny that it has any value whatsoever.

Throughout the course of their travel, Hump and Larson engage in many philosophical (and practical) conversations even as the Captain runs roughshod over the crew and puts down a mutiny, and while seal-hunting. This gives something of a surreal aspect to the story as one would simply not expect a man of Larson’s ilk to be intellectual enough to engage in such conversations. Thus, even as he clearly holds Hump in disregard (due to his dilettante lifestyle) he grants him a good deal of leeway as he recognizes that in Hump he finally has someone with whom he can converse in an eloquent fashion as Hump is so much more his mental equal over the rank and file of the men on board the Ghost.

For Rib’s part, he so effectively manages to capture the essence of London’s original story and play it out on the printed page. Rib’s unique art style effectively depicts the power of the raging sea as well as time period from which this tale was taken. His style evokes a pseudo wood-cut imagery with cross-hatching and amazing line work. One of the more amazing aspects of the way that Rib chose to illustrate this tale is that his effective use of duotone coloring. That is to say, each chapter in the book is essentially colored in shades of a single color. Now while elsewhere we have railed against this technique in modern-day comics as we feel that it tends to muddy up the art, with Rib, it enhances the mood, energy, and emotions emanating during each chapter of the book.

In the initial chapter the scene is an over-cast blue setting the scene for the disaster to come. Once Van Weyden is aboard the Ghost the color becomes a brownish red, showing us his despair. Subsequent chapters Green, yellow, red, blue, and even black and white, each communicating different energy and emotional content. After a while you don’t even notice that the comic isn’t “All in color” but come to understand that Rib with his art and coloring choices (like London before him with the actual words of the tale) is making very specific statements and observations.

As can be expected with a Classics Illustrated book, the essence of the original work is ideally captured and by the time  a female castaway named Maud Brewster ends up on the boat, and she and Hump (as the only two aristocrats within thousands of nautical miles) are forced to rely upon each other and effect an escape with each other, you come to realize that you have just (finally) read one of the books that was perhaps on your school reading list, and (perhaps even against your will) realized how enjoyable the book was. 

From our own perspective, some of the early passages of the book rung familiar with us (though we have no actual memory of having read the original prose novel). Still, in the pre-internet day prior to Cliff or SparksNotes, for us, Classics Illustrated comics were a preferred way of ours to read classic tales. Needless to say, that Papercutz has chosen to revive this delightful series, giving them a new lease on life is one of the simple joys of our existence. 

Hopefully, with this incarnation of London’s The Sea Wolf, (as well as the other tomes in Papercutz growing collection), a new generation of readers will discover those classically iconic stories that were once required reading for all school children.

 

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The Sea Wolf by Jack London, Riff Reb’s – Writer and Artist, Joe Johnson translation. Copyright © 2012 MC Productions/Riff Reb’s. Copyright © 2014 by Papercutz, for the English translation, editorial matter, and the collected edition. The Classics Illustrated name and logo is Copyright © 2014 First Classics, Inc. All rights reserved. By permission of Jack Lake Productions Inc. Classics Illustrated is a registered trademark of the First Classics, Inc.

The text to Funnybook City/Is Nothing Sacred is © 2014 & 2021 Robert J. Sodaro, D.B.A. Freelance Ink. All rights reserved by their respective owners.

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Robert J. Sodaro is a noted comicbook historian and journalist who began reading comics during the early ‘60 while sitting on the newsstand in his Uncle’s “Mom & Pop” grocery store. He has been writing about them in the early ‘80s, and wrote for virtually every print comicbook publication published during the ‘80s & ‘90s. These days, much of his writing can be found on HubPages.com.

Saturday in the Bronx

Today I'm spending the day attending my buddy, Ray Felix's third annual Bronx Hero Con (held at the Bronx Museum).

While here, I donated a pint of blood (yes, MY blood) to NY Blood Center (I have previously given some 16 gallons to the Red Cross).

We're having a good time so you should come on down and have a good time with us. Right now I'm sitting next to my old buddy John A. Wilcox.

The place is hopping with all sorts of funnybook celebrities, and folks of interest, from Jim Salcrup (Papercutz) to J.M DeSantis, and Mark Mazz (Atlas Unleashed).

the place is packed, and there are great panels, workshops and much, much more. So stop what you are doing and come on by to help us celebrate the arts here at the Bronx Museum.