I have a feeling that a few more sales this week would not only put us solidly in the top 100 in the first category, but could earn the book a space among some of the greats in the genre along with Kurt Vonnegut, Carl Hiaasen, Ray Bradbury, Bret Easton Ellis, Vladimir Nabokov, Don Delillo, Thomas Pynchon, and Umberto Eco!
If you haven’t purchased a copy yet, but want to help support our efforts to get the book out there, now is the time to take the plunge.
If you’re a Kindle Unlimited member, keep in mind that you can read the ebook for free! If you’re not a member, you can read it now by trying the Amazon Kindle Unlimited 30-Day Free Trial.
Amerikan Krazy novelist Henry James Korn is slated to appear at the curated exhibit “Amerikan Krazy: Life Out of Balance” featuring the work of over twenty notable Southland artists. More details at Boffo Socko Books.
Can’t wait for Wednesday or want to read it before the book signing? You can buy the hardcover or e-book version on Amazon or wherever fine literature is sold.
So, I’m publishing my first book. Not a book I wrote, mind you, but a book for which I’m the actual publisher…
We’re throwing a party at Chevalier’s in Los Angeles to celebrate it. Henry James Korn, a brilliant writer—so good that I went to the trouble of publishing it myself rather than just selling it, as I’ve done so often in the past—will be doing a reading and signing on March 2nd. I hope you can all join us!
RSVP via Facebook or directly at <a href=”http://boffosockobooks.com/books/authors/henry-james-korn/amerikan-krazy/#appearances”” target=”_blank”>Boffo Socko Books.
If you have to miss the launch, you may be able to catch one of his other <a href=”http://boffosockobooks.com/books/authors/henry-james-korn/amerikan-krazy/#appearances”” target=”_blank”>upcoming book signings.
Labels! Labels! It’s working with the Americans that’s given you this obsession with labels and brand names.
Msr. Charles Bonnet, painter, art forger, conman
counter-scolding his daughter who has called him a fraud
in How to Steal a Million (1966)
Then, just a bit later in the film:
We live in a crass commercial world with no faith or trust!
Msr. Charles Bonnet, painter, art forger, conman
ironically speaking to his daughter after forging and selling several major artworks
in How to Steal a Million (1966)
Many of you may have already heard, but I’m publishing books under the Boffo Socko Books imprint and our first release, a satirical novel entitled Amerikan Krazy written by Henry James Korn, is being put out on February 22, 2016, just in time to “celebrate” the race for the Presidential Election of 2016.
For a limited time, we’re giving away five free signed copies of the advanced reader edition before the official launch of the book. Along with major book review outlets, you’ll be able to have and read a copy weeks before the official launch.
You can sign up for the giveaway by January 15, 2016 at GoodReads.com.
Entrants will be notified on Jan 15, 2016 if they win.
We hope our friends will take a moment to register for a free GoodReads account and spend a moment to indicate that they “want to read” the book, and “follow Henry” there as an author.
If you have a moment, and feel so inclined, feel free to share a link to this post on your favorite social media outlet. Your help in spreading the word is greatly appreciated.
Over the past several months, I’ve been helping to set up an affinity group for the Johns Hopkins Alumni Association to bring together alumni who work in areas related to the entertainment industry.
For the past several weeks, we’ve been making plans for our first official event to be held in conjunction with a week long Intersession course being offered by the Film and Media Studies Program at Hopkins. We’re happy to announce the details for this event on January 7th and hope everyone can join us. There will be a panel discussion as well as ample time to chat with a variety of fellow alumni, current students, and faculty.
Are you a member of the Arts, Entertainment, Media, or Entrepreneurship communities in Los Angeles?
Join us as we welcome Linda DeLibero, Director of the Hopkins Film and Media Studies Program, and current Film majors from the Film and Media Studies Intersession Course for a diverse and dynamic panel discussion featuring creative and successful Hopkins alumni working in the industry. Learn relevant information, make connections with fellow LA area alumni and talk with the current students.
A number of students from Hopkins will be in attendance at the event as part of an Intersession course being offered by the department. The listing for the course follows:
This week-long course in Los Angeles gives students inside access to the entertainment industry through daily meetings and workshops with key figures in film, television, new media, and music, many of them JHU alums: directors, producers, screenwriters, studio executives, agents, exhibitors and more. We will visit studios, major agencies and production companies, and will end the week with a JHU networking event and panel discussion with alumni who work in film and television.The course runs from January 4 -8. Open to all Film and Media Studies majors and minors, with preference given to seniors. Students outside FMS may apply if slots remain open after all FMS students have registered.
The event was a wonderful success. I wanted to share a few of the photos I took during the panel discussion:
Students, alumni, and faculty look on at the Johns Hopkins Arts, Entertainment, Media, and Entrepreneurship Panel Discussion
Johns Hopkins Arts, Entertainment, Media, and Entrepreneurship Panel Discussion featuring Dalia Ganz, Mark Swift, Jason Sommerville, and Sunny Boling.
Here’s just a few of the many alumni who came out to the LA meetup at Omelet! It was a pleasure to see so many graduates interested in helping the current students and young alumni break into the film industry. — with Amelia Voos, Lydia Youngman, Dael Norwitz, Cole Spivak, Juliana Veracka, Taylor Veracka, Errol Koenig, Elena Thompson, Chris Aldrich, Howie Mandel, Evelyn Jerome Alexander, Josh Siegel, Don Kurz, Grant Lease, Linda DeLibero, Kathryn Alsman, Mark Swift, Brian J. McConnell, Will Mason, Josh Raphaelson, Caitlin Duffy and Jess Ambrosetti at Omelet.
n Veterans Day this year, which lands very near the release of the film Trumbo starring Bryan Cranston, I thought I’d take a moment to remember my old friend and mentor Millard Kaufman.
Millard not only fought for us in the war, but when he came back home he helped to defend our right to free speech and our ability to pursue happiness in a very fundamental way in his career as a screenwriter. I often hear friends in the entertainment industry say, “This isn’t brain surgery, we’re not saving lives, here.” but in a great sense Millard was doing that in small steps throughout his career. Millard Kaufman enlisted in the Marines in 1942, served on Guadalcanal, landed at Guam with the 1st Marine Brigade (Provisional) where he wrote an article for the Marine Corps Gazette about the battle, then participated in the Battle of Okinawa with the 6th Marine Division.
I met Millard 20 years ago in 1995 on a trip to Los Angeles with Matt Gross while we were ostensibly programming the 1995 Milton S. Eisenhower Symposium entitled “Framing Society: A Century of Cinema” which coincided with the 100th anniversary of film. Dr. John Irwin, the long-time head of the Writing Seminars Department at Johns Hopkins, had provided us with a long distance introduction as Millard was a Hopkins alum from the class of ’39. So we met him at his home in the Hollywood Hills looking out over a forested sanctuary. Over our first simple tuna fish sandwich lunch, we began a friendship that spanned the next decade and a half.
Most may remember Millard Kaufman, if at all, as the co-creator of the cartoon character Mr. Magoo, who he based on his uncle, while many others will know his Academy Award nominated films Take the High Ground (1953) or Bad Day at Black Rock (1955). I’ll always remember him for his charm, his wry wit, his ability to swear comfortably in any company, and his sense of fairness.
Apparently Hollywood itself has glossed over his contribution to helping to maintain Dalton Trumbo’s writing career in the recent release of Trumbo (2015), in which he isn’t mentioned (or portrayed on screen). [I’ll note here that I haven’t yet seen the movie, and may boycott it for the slight.] It is here in which Kaufman’s strong internal moral compass pressured him to help ensure Trumbo’s freedom of speech and, in part, his writing career. In short, the House Un-American Activities Committee’s (HUAC) pressured Trumbo which resulted in Trumbo’s being blacklisted in Hollywood and effectively destroying his writing career.
Trumbo and Kaufman shared the same agent at the time, George Willner. One day, relatively early in Kaufman’s career, Willner approached him to see if he would be willing to put his name on the script Gun Crazy that would turn into the 1950 film-noir crime classic to allow it to get made. As Millard told me many times, “I didn’t have much sense then, but at least I had sense enough to say, ‘Let me talk it over with Laurie’ [his wife].” “But we discussed it and we believed it was rotten that a man couldn’t write under his own name,” Kaufman told Daily Variety in 1992. That same year Kaufman, a board member of WGAw, officially requested that the Writers Guild take his name off the credits and replace it with Dalton Trumbo’s name. Kaufman’s fronting for Trumbo helped allow the film to get made, and Trumbo’s career to continue on, even if in the dark. As a board member of the Writer’s Guild Millard helped to restore credits to many writers of the blacklist era who were similarly slighted as a result of their politics at the time. It’s a travesty, that a film gets made highlighting this exact period in Trumbo’s life, but Millard’s small contribution to it has been all but forgotten. Fortunately there are enough who do remember to tell the story.
When I think of Millard and his various contributions, my favorite is always that he wrote the stunning script for Bad Day at Black Rock (MGM, 1955), a superb Western suspense film starring Spencer Tracy as a one-armed veteran facing mysterious enemies in a small desert town. The film shows how post-World War II America could be be both horrifyingly racist and cowardly, but it also showed a way out through Tracy’s character which always reminds me of Millard’s high-mindedness. It was such a great film, I was personally honored to screen it on November 3, 1995, as the premiere film in Shriver Hall after we had mounted a year-long renovation of the film equipment, screen, and sound system. The day before we were all honored to have Millard speak on “Censorship in Film” as part of the Milton S. Eisenhower Symposium.
For those who never had the chance to meet him, I’m including a short 3 minute video of several clips of him talking about a variety of topics. The Millard portrayed here is the no-holds barred man I’ll always remember. Thanks for fighting for all of us, Millard!
For those looking for more information about Millard Kaufman, I’ll include the following articles:
If they don’t like it, they can go fuck themselves. Over so much of my life I’ve been limited by writing for pictures. There’s certain things you can’t say, certain things you can’t show. In the book I found I had much greater freedom than when I was writing for pictures.
Millard Kaufman, on writing novels. Quoted in Vulture while discussing his debut novel Bowl of Cherries.
“…[Millard] is the only first-time novelist I’ve met who could relate first-hand writing advice from Charlie Chaplin.”
Jordan Bass, editor, McSweeney’s in Salon (April 21, 2010).
It’s almost like they write some of this stuff just for me. Though I was already aware of most of the movies they mentioned, they did miss a few:
Washington Square (1997) directed by Agnieszka Holland in Hollywood Pictures/Caravan Pictures production has a stunning cameo of the interior of the Peabody Library – this cameo is the only reason I vaguely remember the film at all.
The Johns Hopkins Science Review (1948-1955) This production is also particularly notable as being the television debut (October 8, 1951) of actor and alum John Astin who now heads the JHU Drama program and for whom the eponymous theater in the Merrick Barn is named.
Fratricide (1966) – A very independent short black and white film (with no credits) starring professor Richard Macksey that was produced by a group of students which included later Hollywood luminaries Walter Murch (who just a few years later co-wrote THX 1138 with George Lucas), Caleb Deschanel, and Matthew Robbins, who coincidentally co-wrote Crimson Peak with Guillermo del Torro which comes out in theaters today.
I have a nagging feeling there are a few more, but they’re just not coming to me at the moment…
By the way, for those suffering through Head of State, you should know in advance that the Shriver Hall scene doesn’t appear until the very end of the movie and then plays through the credits.
More like Johns Hopkins, Fall 2009. Johns Hopkins was a prettier more “college-y” campus, so it got cast over Harvard as Harvard in “The Social Network.”
The more I read of Henry James Korn‘s work, the more I love both it and him. Nothing pleases or honors me more than to be part of the process of not only re-releasing several of his prior works, but to be part of the team releasing his debut novel. Toward that end, I’m happy to announce (on what I hope to be his best birthday yet) the availability to pre-order his forthcoming novel Amerikan Krazy on Amazon.com! If anyone loves it half as much as I do, it’s guaranteed to be a best seller.
I’ve helped him to edit and shape it for several months now and somehow never tire of reading his characters, his plot, or re-experiencing his never-ending wit or his truckloads of snark. Somehow, between the two of us, I think I’m always getting the better end of the deal in working on his book. Either way I’m proud to call him my friend.
Henry Korn’s novel Amerikan Krazy now available on Amazon.com
