In the late Summer of 2013, The Editor of BUREAU of ARTS and CULTURE Magazine Announced a New Experimental Fiction Novel all about Los Angeles. Mr Triliegi wrote a chapter a day for several few weeks, working without notes or any preconceived structure and posted the results daily at various BUREAU Sites that regularly showcase Art, Theater, Music, Photography Cultural & Community events. Part One of The Series lasted all of 22 Chapters and was a resoundingly successful, accepted Literary Art Work. Mister Joshua Triliegi will again repeat that process for Part Two beginning In August 2014.
The New Chapters will be published daily M - F at our different community sites and can be translated into a multitude of languages for easy reading. THE MOST RECENT CHAPTER APPEARS AT THE TOP AND THE PREVIOUS EPISODES APPEAR IN ORDER BELOW THE DAILY. YOU MAY ALSO DOWNLOAD THE ENTIRE PART ONE FOR FREE AT LINK COLUMN ON LEFT OR TO READ THE FIRST FIVE CHAPTERS SIMPLY SCROLL DOWN AND ENJOY THE READ.
" I thought it would be a good writing exercise to simply write about what I see and hear everyday on the streets of the city. To simply create a chapter a day based on the people and things going on in Los Angeles. Since we all come from so many variable back grounds, styles, cultures and languages, I decided to structure the multi character novel to represent all of Los Angeles. I simply write a chapter a day by allowing the characters to unfold and the story, as well as the structure to reveal itself ."
" Its a challenge to simply introduce a character and follow the creative line as it flows into something structured and complete. I usually know the beginning and the end of each Chapter and simply let the middle fill itself out. I like the daily discipline as well as the audience being in on the process. In this particular case, I do not take any written notes. I just start with an idea and let it flow. This is not a normal novel by any means, but it is a new and interesting challenge for both the writer and the readers. It's been a lot of fun. I hope the people of Los Angeles and the world will follow it out as it reveals itself. As the writer, in this particular case, I am just as curious as the reader as to what will happen and how things will go. The cool thing about this project is how quickly the characters began to take on a life of their own. I am curious to see what they do next"
Sam's family had rallied behind Fred ever since his lawyer began to support their son, who had made a dire mistake by attempting to collect on the insurance deed on Fred and Sam's store: by creating a fire. This little event complicated and slowed down the eventual process of Fred being able to collect on his insurance due to the damage caused during the actual riots. Because Fred's store had been entered into first, this allowed for him to collect a full insurance payment for theft and damages. After all had been said and done, it was strange for both Fred and his dead partner's family that, 'a fire and insurance', would somehow end up settling their differences. It took months of waiting and processing, but eventually, Fred received a check and split the value accordingly with Sam's family. Surprisingly, he and the boy had become friends. Ever since his father Sam has passed away, the boy had drifted into loneliness and despair, which led him to do the kind of things he did to the store. They had named the boy Alex. Fred and Alex spent a few afternoons together, boarding up the front of the store directly after the riots, his mother demanded it. But after a while, the two became close. Fred began to tell Alex stories about his father that made the boy laugh. Things that Sam had done to deflect abuse that happened to just about every immigrant class to enter America. He explained how they had worked in the factories and warehouses and canneries, the back breaking work, the dismal pay, the names they were called and when they were actually offered money by the government to start their own jobs and businesses, they had jumped at the chance.
Back then to own a liquor store was a tried and true respectable business, it was a corner market, a convenience store, as they were once called. Now, Fred explained people were saying there were too many liquor stores in that part of town. Fred looked around and eventually had to agree with them. He and the boy went fishing and eventually decided that they would go into business together. Fred had his sights on the next big wave of services to provide. Everybody was talking about yogurt being the next big thing, second to that, water infiltration. Both were good for people and both could be sold to folks from low and middle income families. Fred knew that on his own, he could only afford to open one store, but if he and the boy as well as Sam's wife went in together, they could have a few very small stores throughout the city. Fred said that he was getting too old to run the places himself and that if Alex and his siblings stepped up, they could have their own places to run and eventually have their own stores altogether. Alex asked the man point blank, "Why would you want to go into business with me ?" Fred stared long and hard at the young man, but said nothing. Then he simply stated, "Anyone willing to do what you did to get what you wanted has the guts and the tenacity to deal with the challenges that will come our way with this business. People are sometimes hard to deal with. The stores are sometimes vandalized. All kinds of things can happen. Just the fact that you and I have become friends is a sign that we can transform this into something better. Besides that I owe it to Sam, too." Then Alex said, "I think I would make a good American business man, if you show me how." Fred put his hand out and the two men shook on it. When everyone in the family found out that Fred and Alex were going into business, it sent a ripple of hope through their community.
They were back in business within eighteen months and now had three stores, two for water and one for fresh yogurt that was served with berries and other fresh fruits, Fred called it Josie's, they played a constant track of hip retro music and designed the place with her favorite colors. Fred enjoyed being around Sam's family, the young adults and their kids became his second family in a way and if anyone had a problem, needed someone to talk to, they went straight to Fred. By now, the second trial prosecuting the police officers who had originally been found innocent had been completed and two of the officers had been found guilty, they did time and lost their jobs on the force. The entire fiasco transformed law enforcement in the city of Los Angeles forever. For the opening of 'Josies', Fred called Ryan's little brother to play live music. Since that original meeting, the band had been signed by a record label and had actually gotten lucky with a hit single that played on alternative pop stations. So their appearance at Josies became an event. The band's label had demanded that Fred hire extra security for the opening night concert which was to happen in the parking lot of his new business. He couldn't really understand why, but when he drove up to the store at nine a.m., a group of about a hundred kids had already lined up. By the time, the band showed up, the entire street was flooded with young music fans. Apparently, Ryan's little brother and his girlfriend had become a total out and out hit. They now had a full band that was part reggae, part punk and a touch of soul. "Hey everybody, welcome to the grand opening of Josie's. This city has been through a lot of tough times, but no matter what, we are a city and we need each other. We don't play cover tunes anymore, as you all probably know by now, we play originals. But for the sake of remembering a beautiful person who couldn't be here with us today, we would like to sing one of her favorite songs, her name is Josie, the song goes like this …"
THEY CALL IT THE CITY OF ANGELS
SEASON TWO / EPISODE THREE / CHAPTER 25
THEY CALL IT THE CITY OF ANGELS
SEASON TWO / EPISODE FOUR / CHAPTER 26
THEY CALL IT THE CITY OF ANGELS
Every now and then Chuck would have doubts about his occupation. He had always felt that he was a natural detective, but being a cop on the beat was not his 'specialty'. At times like this, in the middle of a full on riot, he would come home and tell Celia that maybe they should start their own business, "We could buy a bar or start a gym," he knew plenty of guys who would frequent either. But Celia would say, "Honey, you're a police officer and your one of the good cops in this town. Just stick it out and follow through with your commitments." Another day would pass and Chuck and his partner were back in the patrol car. Chuck was always scheming to get his transfer as detective, now that the the riots broke out, the palm tree burnings were a blip on the map. Chuck would have to come up with something much bigger than that, if he was ever to graduate and run with the big boys. His research over the past few years had given him a wide variety of leads, but you needed witnesses to get a conviction and once you had a witness, you had to find a way to keep that person safe from harm and make a case that the detective squad would deem valuable and worthy of prosecution. A few weeks back, while Chuck was off duty, he saw a girl in the park, that couldn't have been more than twelve or thirteen, she was strung out, dressed in heels, looked like she hadn't slept in a week. She was also a very beautiful child, someone that was his daughters age. When he walked up to see if she was o.k., she propositioned him, said she needed some money. He said that he would give her five dollars, if he could simply walk her home. "It's too late for you to be out here alone. Girls get hurt out here, some of them even get raped or killed." She simply stared at him and said, "Do me a favor." Then she replied, "If I go back there without any money, they will beat my ass silly." "Where do you live ?" Chuck asked, "Not too far from here," she answered. By the way, you're being watched, "Just thought I should tell you, you see that row of house over there, well they got eyes on this park and people back at my place is in touch with them eyes." Chuck sat quiet for a minute, "How many girls do they have ?" "At my place or everywhere ?" she answered. "Everywhere ?", Chuck asked. "Yeah everywhere, they got houses all up and down, probably just under a hundred girls," then she added. "Your a square ain't you ?" Chuck shook his head no, "I'm a father of three girls that are home in bed right now." Then she asked him point blank, "And you mean to say you ain't never jumped in one of those beds ?" Chuck was taken aback by the comment, "Of course not, those are my girls." She just looked at him in disbelief. Then he said, "Listen, why don't I go get my car and enough money so that you can go home for the night ?" "Would fifty dollars do it ?", she just looked at him blankly, "A hundred ?" She then said, "Yeah, that'd do it ?" Chuck walked back to the house, drove his car to the park and picked up the girl. "What do you want ?", she said. "I want you to get a bite to eat and then I am taking you home." He picked up a couple burgers and fries and a malt shake and they sat in the car. Chuck began to slowly grill the girl. "How did you end up at that particular house ?" And the girl began to tell Chuck her life story, which was harrowing and sorted. She'd never had this type of man be so interested and kind and she said so,"At least not without wanting something in return anyway." Then Chuck said, "But I do want something in return. I want you to consider going after these people." She became visibly scared at even the mention of such a thing. "I know some people who have friends that might want to help you, if you ever decided to do something about these people." She looked at him differently now. Then he added, "Look, it's getting late, I better take you home. Chuck withheld the money until they got to the house, and then he gave her the bills. "I'm going to be watching you, I want you to be careful. You're better than this." The girl looked at him and then looked away, she got out of the car and walked up into the house. Chuck remembered the house, street and address and headed back home. Since then, he had staked out the place several times. Eventually eyeing an older man and woman, who got into a beat up old station wagon and drove up into a local market. Chuck followed them into the market, bought a six pack, followed them around the store, then got in line directly behind them. That took a while, because they had filled the shopping cart with enough instant food items to feed a girl scout camp. The couple didn't say a word, but at one point, the lady looked up and glanced at Chuck, who simply feigned a smile. She smiled back, revealing a terrible set of front teeth, that were grey and beige, the kind that Chuck had associated with speed freaks through the years. He wrote down the plates, ran a check on the car and began one of his many detective routines, even though he had to be to work on his usual beat soon enough. Sometimes, his desire to become a detective affected his performance as a regular boy in blue and his partners through the years had always noticed whenever he was putting too much time into something else. "Watcha working on Chuck ?" Became a familiar phrase around the station. He figured there would always be a group of underachievers willing to hassle someone like him, who actually took the job to heart. Chuck took the job home, sometimes even crossing the line, as he had by taping his wife Celia's little brother's phone calls when he had been released from prison and had come to stay with them. That had backfired on him. When Junior found the recording device in Chucks office, he began a series of calls that were fakes and Chuck waisted a lot of time trying to follow false leads. Now that Junior and his Dad were now back on the ranch, Chuck was about to pay a serious price for that misstep. He'd already been reprimanded by the force and was about to catch hell from his wife.
Celia had always been a homemaker from the get go. She had dreamed of finding a good man and having kids most of her life and so, the dream had come true and she was a very contented person. Her daughters were smart, rambunctious, funny, and sometimes downright mischievous, not unlike the way she had been as a child. She kept up the house and the garden, had her hands full with the girls, cooked, did the laundry and through it all seemed to have found the perfect man to share her life. To her, Chuck was hard working, honest and cared about the world. So the day she found the recording device in his office, which she normally did not clean because it was usually locked when Chuck was not home, all hell broke loose. She pressed play and immediately a series of calls between Junior and his girlfriend began to play, "So what are you doing right now ?", "Nothing" "Can you come over ?" "No, I can't, maybe at the end of the week." "I miss you." "I miss you too." Celia fast forwarded to the next and the next and the next, she freaked. When Chuck got home that night, Junior and Lewis were gone on a fishing trip and the girls were already asleep. He walked into the kitchen and she said without hesitation or reservation, "I want to know why you had been recording my bother's f*cking conversations." Chuck just looked at her. "Look, When a guy gets out of prison, theres a chance that he can get involved in stuff that could end him right back in the joint. I did it to simply monitor him, make sure that he's not getting involved with the wrong people. "Oh yeah, well what If I got involved with the wrong people Chuck ?" She looked at him. "What if you got involved with the wrong people ?" He didn't respond. "This is my family, this is my brother, how could you do that ?" he said nothing, Celia continued, "Why, when there is a whole world of evil and ugliness and very bad people would you bring that type of scrutiny into my house ?" Now he got fired up, "Hey, this is our house. We have daughters. You don't know what kind of things even go in prison. I don't even tell you a small percentage of the stuff that I see everyday on the streets because I don't want you to become jaded." She just shook her head and crossed her arms, "We grew up here Chuck, my family has been through a lot. I lost a lot of friends before I even graduated from high school, did you know that ? So don't try to tell me anything about the goddamn streets. My first boy friend was killed by a kid from another gang simply because he answered the question, "Where are you from ?" to the wrong group of kids, "They blasted him in the back, Chuck. Understand ? You didn't marry some little white girl from Pasadena here. Junior is my only brother. I will not condone any type of surveillance of my family whatsoever: Do You understand ?" He looked at her directly but said nothing. "I will take these girls and go away from here so quick if I ever see or hear anything going on between you and my brother. He just did fifteen years for something that happened when he was a kid. He paid his debt to society. Now go out there and protect the public from harm. And I don't want to sleep with you tonight. I'm staying in the girls room." Chuck was devastated. He had never seen Celia so upset. Well, at least not in a couple of years. On top of that, Chuck had been assigned to handle riot crowd control tomorrow and didn't do very well on the job without the support of Celia, who was his rock of personal security. He sat in the kitchen and cried like a baby. Then he slept on the couch, got up early and was out of there before the girls awoke.
He and his partner were assigned to Long Beach at Signal hill, the night before, they had lost an entire row of shops to angry protestors and things were heating up. They were getting so much flack from people on the streets that is was more than discouraging, it was denigrating. Four cops had beat the hell out of a guy and got away with it in a court of law and now every cop in the entire city was being blasted with more hatred, more humiliation and down right aggression that many of he cops were feeling defeated. Chuck was among that group. He knew a few real assholes on the squad and thought: Why should I be talking abuse because someone else can't do the job properly. They spent the afternoon showing their presence to not much effect. People still looted and pillaged, even in front of the show of force. At one point, things got so bad that a group of police were forced to simply stand by and watch things burn to the ground. Chuck told his partner, "I am not going to arrest some kid for stealing a pair of shoes that cost five dollars and ninety-nine cents on principle alone. I won't do it," and his partnered just looked at him. They got back into the squad car and headed into down town. They got a call to visit activity up on Pine Street. On the way over, Chuck, who was sitting in the passenger side, noticed the beat up station wagon three car lengths ahead of them, "Wait a minute, drop back, drop back." His partner asked, "What is it ?" Chuck replied, "This guy in the station wagon, follow him, stay way back, keep a couple cars between us." "What is it Chuck ? Were supposed to get to Signal hill." "Trust me on this one." His partner replied, "I've heard that one before.", "Just follow this guy,will ya ?" They followed him as he drove down a few streets and up another and parked the car in the drive way of a home. The man grabbed what looked like a twenty-five pound bag of rice, put it on his shoulders and carried it through the back entrance. Chuck wrote down the address and cross street. When the man exited, two girls got into the back seat of the station wagon and they drove toward the bridge. Chuck said to follow them. Now his partner was getting upset. "Chuck, you better know what you are doing here." "I do, now just follow this guy." They drove up and over the bridge, the man headed directly to the house where Chuck had dropped off the girl. Then Chuck ran the sirens, cranked the lights, and called it in. "We've got a random traffic stop at …" he gave the address. The two girls panicked and ran into the house. Chuck asked for back up and also requested coverage at the address on the house on the other side of the bridge. He pulled out of his gun, asked the man to raise his hand sand exit the vehicle. He told his partner to watch this guy and kicked in the front door, the girls started screaming. The woman sat in the kitchen watching the riots on an old television on the counter, "Put your hands on your head and stand up with your back against the wall." He saw the back door was wide open and when he looked in the yard, noticed an entire chemistry lab with metal barrels, all sorts of giant vats. He kicked in the door to the back structure and discovered two and a half pallets of meth. By then, his back up had arrived and the house was discovered to have eight different bunk beds crammed into three small rooms and a handful of underaged girls scattered throughout the house. When they included the contents of both houses, it became one of the biggest drug busts to date. The girl that Chuck had met in the park was the first to testify and the arrest of the couple led to the biggest ring of child trafficking cases and it busted the city wide open. Because of the Los Angeles riots, an arrest that would have normally made the front pages was relegated to a brief mention. Chuck didn't care, he wasn't looking to be a hero, he was looking to become a detective. When he got home that night, Celia had made a special dinner and all the girls were dressed in their finest. The living room table was set and the seating arrangement had been formal. He walked in the front door and Celia announced, "Girls, I want you to come in here, your father is home." The girls came running in and kissed and hugged their dad. Chuck looked at Celia, he was still unsure. She grabbed him and said, come here, "I want to see what its like to make love to a detective," and she gave him a kiss that even made the girls react. Chuck had finally made detective.
BUREAU OF ARTS AND CULTURE MAGAZINE CHANNEL IS ON YOU TUBE WITH NEW FICTION PROJECT
DAVID L. LEWIS : FILM MAKER
Documentary Film maker Davis L. Lewis speaks with Bureau Editor Joshua Triliegi
- The Age of American Unreason, Susan Jacoby, 2008
- The Brief Wondrous Life of Oscar Wao, Junot Diaz, 2007
- The Coast of Utopia (trilogy), Tom Stoppard, 2007
- Teenage: The Creation of Youth 1875-1945, Jon Savage, 2007
- Fingersmith, Sarah Waters, 2002
- The Trial of Henry Kissinger, Christopher Hitchens, 2001
- Mr. Wilson’s Cabinet of Wonder, Lawrence Weschler, 1997
- A People’s Tragedy: The Russian Revolution 1890-1924, Orlando Figes, 1997
- The Insult, Rupert Thomson, 1996
- Wonder Boys, Michael Chabon, 1995
- The Bird Artist, Howard Norman, 1994
- Kafka Was The Rage: A Greenwich Village Memoir, Anatole Broyard, 1993
- Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective, Arthur C. Danto, 1992
- Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, Camille Paglia, 1990
- David Bomberg, Richard Cork, 1988
- Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom, Peter Guralnick, 1986
- The Songlines, Bruce Chatwin, 1986
- Hawksmoor, Peter Ackroyd, 1985
- Nowhere To Run: The Story of Soul Music, Gerri Hirshey, 1984
- Nights at the Circus, Angela Carter, 1984
- Money, Martin Amis, 1984
- White Noise, Don DeLillo, 1984
- Flaubert’s Parrot, Julian Barnes, 1984
- The Life and Times of Little Richard, Charles White, 1984
- A People’s History of the United States, Howard Zinn, 1980
- A Confederacy of Dunces, John Kennedy Toole, 1980
- Interviews with Francis Bacon, David Sylvester, 1980
- Darkness at Noon, Arthur Koestler, 1980
- Earthly Powers, Anthony Burgess, 1980
- Raw (a ‘graphix magazine’) 1980-91
- Viz (magazine) 1979 –
- The Gnostic Gospels, Elaine Pagels, 1979
- Metropolitan Life, Fran Lebowitz, 1978
- In Between the Sheets, Ian McEwan, 1978
- Writers at Work: The Paris Review Interviews, ed. Malcolm Cowley, 1977
- The Origin of Consciousness in the Breakdown of the Bicameral Mind, Julian Jaynes, 1976
- Tales of Beatnik Glory, Ed Saunders, 1975
- Mystery Train, Greil Marcus, 1975
- Selected Poems, Frank O’Hara, 1974
- Before the Deluge: A Portrait of Berlin in the 1920s, Otto Friedrich, 1972
- In Bluebeard’s Castle : Some Notes Towards the Re-definition of Culture, George Steiner, 1971
- Octobriana and the Russian Underground, Peter Sadecky, 1971
- The Sound of the City: The Rise of Rock and Roll, Charlie Gillete, 1970
- The Quest For Christa T, Christa Wolf, 1968
- Awopbopaloobop Alopbamboom: The Golden Age of Rock, Nik Cohn, 1968
- The Master and Margarita, Mikhail Bulgakov, 1967
- Journey into the Whirlwind, Eugenia Ginzburg, 1967
- Last Exit to Brooklyn, Hubert Selby Jr. , 1966
- In Cold Blood, Truman Capote, 1965
- City of Night, John Rechy, 1965
- Herzog, Saul Bellow, 1964
- Puckoon, Spike Milligan, 1963
- The American Way of Death, Jessica Mitford, 1963
- The Sailor Who Fell From Grace With The Sea, Yukio Mishima, 1963
- The Fire Next Time, James Baldwin, 1963
- A Clockwork Orange, Anthony Burgess, 1962
- Inside the Whale and Other Essays, George Orwell, 1962
- The Prime of Miss Jean Brodie, Muriel Spark, 1961
- Private Eye (magazine) 1961 –
- On Having No Head: Zen and the Rediscovery of the Obvious, Douglas Harding, 1961
- Silence: Lectures and Writing, John Cage, 1961
- Strange People, Frank Edwards, 1961
- The Divided Self, R. D. Laing, 1960
- All The Emperor’s Horses, David Kidd,1960
- Billy Liar, Keith Waterhouse, 1959
- The Leopard, Giuseppe Di Lampedusa, 1958
- On The Road, Jack Kerouac, 1957
- The Hidden Persuaders, Vance Packard, 1957
- Room at the Top, John Braine, 1957
- A Grave for a Dolphin, Alberto Denti di Pirajno, 1956
- The Outsider, Colin Wilson, 1956
- Lolita, Vladimir Nabokov, 1955
- Nineteen Eighty-Four, George Orwell, 1948
- The Street, Ann Petry, 1946
- Black Boy, Richard Wright, 1945
- The Portable Dorothy Parker, Dorothy Parker, 1944
- The Outsider, Albert Camus, 1942
- The Day of the Locust, Nathanael West, 1939
- The Beano, (comic) 1938 –
- The Road to Wigan Pier, George Orwell, 1937
- Mr. Norris Changes Trains, Christopher Isherwood, 1935
- English Journey, J.B. Priestley, 1934
- Infants of the Spring, Wallace Thurman, 1932
- The Bridge, Hart Crane, 1930
- Vile Bodies, Evelyn Waugh, 1930
- As I lay Dying, William Faulkner, 1930
- The 42nd Parallel, John Dos Passos, 1930
- Berlin Alexanderplatz, Alfred Döblin, 1929
- Passing, Nella Larsen, 1929
- Lady Chatterley’s Lover, D.H. Lawrence, 1928
- The Great Gatsby, F. Scott Fitzgerald, 1925
- The Waste Land, T.S. Eliot, 1922
- BLAST, ed. Wyndham Lewis, 1914-15
- McTeague, Frank Norris, 1899
- Transcendental Magic, Its Doctrine and Ritual, Eliphas Lévi, 1896
- Les Chants de Maldoror, Lautréamont, 1869
- Madame Bovary, Gustave Flaubert, 1856
- Zanoni, Edward Bulwer-Lytton, 1842
- Inferno, from the Divine Comedy, Dante Alighieri, about 1308-1321
- The Iliad, Homer, about 800 BC
BUREAU: Please suggest a list of ten artists that our audience should know about and why.
DAVID PALUMBO: Hmmm. Ok, I hope some of these are already well known, but here are ten artists I’m currently really digging:
Mead Scheaffer - I don’t know much of his story, but damn can he paint. Scheaffer was an illustrator in the first half of the 20th century who was brilliant with design, limited color, and something about his brush calligraphy just kills me.
J.C. Leyendecker - Another early 20th century illustrator, Leyendecker was so bold with shape and silhouette that I’m often looking to him for inspiration. His stylization of figures adds such elegance and drama. Precursor to Rockwell.
Jeremy Geddes - an Australian contemporary painter who has transitioned from illustration to fine art. His work is so moody and stark. I love the illustration and gallery work equally.
Antonio Lopez Garcia - a Spanish painter, still active I believe, who is known for his immense cityscapes and incredibly life-like interiors. The depth and tangible quality of his work is unreal, especially if you ever have the opportunity to see one in person.
Sam Weber - a contemporary illustrator based in Brooklyn who’s done mostly editorial and cover work. Sam’s look has been evolving since I first became aware of him. Back then it was very graphic and stylized, often monochromatic and minimalist. Recently he’s been turning more hyper-realist but still with a strong graphic punch and terrific mood.
Alex Kanevsky - a contemporary fine artist who does very abstracted depictions of figures and such. I’m endlessly fascinated by how far he can break the lines and planes while still showing a clear representation of the figure.
Robert McGinnis - an illustrator who did a ton of crime novel covers with sexy women in the 60s and 70s. Think of Bond girls and you’d think of McGinnis.
Sanjulian - a European illustrator who did absolutely brilliant 70s gothic and horror (and romance) book covers. Wonderful 70s texture and amazing montages
Greg Manchess - a contemporary illustrator who does genre and mainstream work with a very painterly hand in the spirit of the Pyle school. Wonderful chunky strokes and incredible compositions.
John Harris - an English illustrator who does beautiful painterly space scenes rich in color and emotion. Almost nobody can get away with loose atmospheric takes on SF like Harris can.
Mr. Palumbo's worked has been showcased in: Ace Books . Blizzard Entertainment . Centipede Press . Dark Horse Comics . Daw Books . Heavy Metal . Lucas film . Marvel Entertainment . The New Yorker . Night Shade Books . Pyr Books . Roadrunner Records . Rolling Stone . Italia Scholastic . Science Fiction Book Club . Simon and Schuster . Scientific American . Subterranean Press . Tor Books . Wizards of the Coast and In the collection of: George Lucas . Pennsylvania Academy of Fine Art . The Association of Fantastic Art he has Numerous Awards Including : Chesley Award - best game related illustration (2013) / Spectrum Gold Medal - book category (2013) / Spectrum Gold Medal - book category (2011) / Spectrum Silver Medal - comics category (2011)