Podcast – Much Abides

Virtual Memories Show:
Ashton Applewhite – Much Abides

“Knowing that things are finite gives life meaning. Avoiding mortality means you’re avoiding living, not avoiding dying. Aging is living.”

Ashton Applewhite on The Virtual Memories Show

Ashton Applewhite is on a crusade against ageism (lack of gray hair notwithstanding). She joins the show to discuss the myths and roots of ageism and her talk series, This Chair Rocks. We also discuss her Yo Is This Ageist site, why she scoffs at the Life Extension crew, how her critique of ageism intertwines with her critique of capitalism, what it’s like to suffer from analexophobia, why we should all consider ourselves old people in training, and how she launched the Truly Tasteless Jokes empire. Give it a listen!

And if you’re in NYC, you can go hear Ashton’s This Chair Rocks talk on October 27! Details here!

Bonus: my yearbook picture from 1989!

“It drives me crazy when I get the AARP bulletin and the only gray-haired person in it is Bill Clinton.”

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!

About our Guest

The voice of This Chair Rocks and Yo Is This Ageist, Ashton Applewhite is a Knight Fellow, a New York Times Fellow, and a Columbia Journalism School Age Boom Fellow. She is the author of Cutting Loose: Why Women Who End Their Marriages Do So Well, media liaison to the board of the Council on Contemporary Families, and a staff writer at the American Museum of Natural History.

Credits: This episode’s music is Golden Years by David Bowie (it was either that or Never Get Old). The conversation was recorded at Ms. Applewhite’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Ms. Applewhite by me.

Podcast – 35 Cents & a Stamp

Virtual Memories Show: John Porcellino –
35 Cents & A Stamp

“I managed to go 43 issues before I hit the paralyzing grip of self-doubt and self-consciousness [from realizing that I had an audience]. I feel lucky that I had all those years to write comics in essentially a vacuum. I can’t imagine what it would be like to be 20 years old and trying to write comics in this world with the internet’s immediate response.”

John Porcellino on The Virtual Memories Show

John Porcellino has been publishing his King-Cat Comics & Stories mini-comics for 25 years, but I managed not to check them out until last month. BIG mistake on my part! Turns out the critics were right; John P.’s one of the best autobio cartoonists out there, as well as “a master at miniature poignance” (Entertainment Weekly). We sat down at SPX 2014 to talk about publishing his new work, The Hospital Suite, as a standalone book and developing the skill and courage to tackle longer stories, his disdain for “the culture of like”, overcoming the shame and stigma of his OCD, the process of discovering an audience for his work, the pitfalls of autobiographical comics, discovering the power of negative space, turning his life into a narrative, how comics enabled him to communicate with people, and, most importantly, being an NFL bigamist. Give it a listen!

“If things didn’t get better, I was going to be the guy wandering down an alley in my underwear with tinfoil wrapped around my arms.”

Bonus: Roger Langridge gives us a few minutes at SPX to talk about his new book, Jim Henson’s The Musical Monsters of Turkey Hollow!

“To me, the best cartooning is the kind that has in place what needs to be there: nothing more and nothing less.”

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!

About our Guest

John Porcellino was born in Chicago in 1968, and began drawing and writing at an early age, compiling his work into handmade booklets. His acclaimed self-published zine, King-Cat Comics and Stories, begun in 1989, has found a devoted worldwide audience and is one of the most influential comics of the past 25 years. His newest book is The Hospital Suite, and he is the subject of a new documentary, Root Hog or Die. His work has been collected in several editions, including King-Cat Classix, Map of My Heart, Perfect Example, and Diary of a Mosquito Abatement Man. He is also the author of Thoreau at Walden and The Next Day: A Graphic Novella.

Credits: This episode’s music is Theater is the Life of You by The Minutement (John’s a fan). The conversation was recorded at the Bethesda North Marriott Hotel on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Porcellino by me.

Podcast – A Sense of Someplace To Go

Virtual Memories Show: Dmitry Samarov –
A Sense of Someplace To Go

“The great [storytelling] advantage to driving a cab is that you have the back of your head to the person. It makes them open up in a way that, if they saw my face, I don’t think they could have. Then they would have had to reckon with me as a person, and I really wasn’t a person to most of them.”

This podcast often hangs out at the intersection of art and commerce, so I was happy when Dmitry Samarov drove up in a cab with his sketchbook!* Dmitry recently published Where To?: A Hack Memoir (Curbside Splendor Press), his second book of essays and art about his experiences behind the wheel of a taxi in Chicago and Boston. We talk about that job vis-a-vis his fine arts background, his compulsion to chronicle his working life in words and images, how he made the transition from ‘zine to blog to book deal, how John Hodgman helped him get his break into publishing, what it’s like to run a website built in 2004, why he fled Parsons School of Design after one semester, and how it felt to leave the cab-driving world behind.

Dmitry Samarov Taxis in to The Virtual Memories Show

We also talk about his family’s emigration from the Soviet Union when he was a child (and his affinity for The Americans), what it was like to attend the School of the Art Institute of Chicago with Chris Ware, and why he hates Boston with the passion of a thousand burning suns. Most importantly, we find out what an appropriate tip is for a cab-ride! That’s worth the price of admission by itself!

* Actually, I drove out to Newark Airport to pick up Dmitry on his book tour

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!

About our Guest

Dmitry Samarov was born in Moscow, USSR, in 1970. He emigrated to the United States with his family in 1978. He got in trouble in first grade for doodling on his Lenin Red Star pin and hasn’t stopped doodling since. After a false start at Parsons School of Design in New York, he graduated with a BFA in painting at printmaking from the School of the Art Institute of Chicago in 1993. Upon graduation he promptly began driving a cab — first in Boston, then after a time, in Chicago. He is the author of two books, Hack: Stories from a Chicago Cab, and Where To?: A Hack Memoir. You should go watch five teaser clips of the Chicago Hack series (dir. John McNaughton), which use Dmitry’s art and writing for a half-hour scripted TV series. You should also check out his paintings, and maybe buy some.

Credits: This episode’s music is A Nice Piece For Orchestra by Bernard Herrmann (from the Taxi Driver soundtrack, duh). The conversation was recorded at Chez Virtual Memories on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Samarov by me.

Podcast – May God Remember

Virtual Memories Show: Daniel Goldhagen –
May God Remember

“The phenomenon of antisemitism in areas where no Jews are present has no parallel, and it shows this is an extremely deeply seated and broad cultural construct, first in Christianity and then in Islam. . . . These notions have and continue to spread antisemitism around the world.”

Daniel Goldhagen on The Virtual Memories Show

During the middle of the High Holidays, two Jews sit down in Manhattan to talk about antisemitism! Daniel Goldhagen joins the show to talk about his newest book, The Devil That Never Dies: The Rise and Threat of Global Antisemitism. We discuss the public expression of antisemitism and why it’s permitted in so many regions (and why it’s not in America), how it’s progressed through medieval, modern and global phases, how Jews have been able to survive millennia of ill-treatment, why “eliminationism” is a better term than “genocide”, and how a guy who writes books on topics like this manages to stay upbeat.

“People in Germany don’t look at Jews anymore and see devils in human form. That’s progress.”

Along the way, we also talk about the Goldhagen family business, Daniel’s writing routine (which fills me with shame), what it’s like to be the first topic that comes up when you search “genocide” on YouTube, and what the man behind The Goldhagen Debate thinks about the adage that there’s no such thing as bad publicity.

The episode also includes my tribute to DG Myers, who died the previous weekend. Go visit his site to learn more about his life, death, and donations you can make in his honor.

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!

About our Guest

Daniel Jonah Goldhagen, a former professor at Harvard University, is the author of Hitler’s Willing Executioners: Ordinary Germans and the Holocaust, A Moral Reckoning: The Role of the Church in the Holocaust and Its Unfulfilled Duty of Repair, and Worse Than War: Genocide, Eliminationism, and the Ongoing Assault on Humanity, in addition to The Devil That Never Dies: The Rise and Threat of Global Antisemitism. His writing has appeared in the New York Times, Los Angeles Times, Washington Post, New Republic, and newspapers around the world. There’s a much more extensive bio available at his website.

Credits: This episode’s music is First We Take Manhattan by Jennifer Warnes (in tribute to DG Myers). The conversation was recorded at Mr. Goldhagen’s rather echo-y home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Goldhagen by me.

A Legend and an Immortal Shoot a Selfie, part 2

Remember how I posted that pic of Lynda Barry and Jules Feiffer taking a selfie at SPX 2014? Well, Lynda just sent me the actual selfie (with permission to post it)!

Lynda and JulesSo it turns out I only took the second-best picture at SPX that weekend!

 

What profit is there from my death?

The professor, scholar, literary historian, husband and father D.G. Myers died yesterday, after a long bout with prostate cancer. Last March, we recorded what may be my favorite episode of the podcast. You can listen to it here:

I just wrote this for a tribute festschrift being collected by Patrick Kurp. My condolences to his wife and family and everyone else whose life he touched.

* * *

dgmyersI’d enjoyed D.G. Myers’ writing on books, culture and religion for years, and when I learned that he was suffering from terminal cancer, I sheepishly asked him if he’d be interested in recording a conversation with me for my podcast. I was surprised when he assented, thinking, “If I knew I only had a year or so to live, the last thing thing I’d want to do is waste a few hours talking to someone like me.”

I flew to Columbus, OH last March and we sat down in his home on a Sunday afternoon to record what turned out to be one of the best conversations I’ve ever had (on- or off-mic). We recorded for 90 minutes, then kept going for the next two hours, before his fatigue overcame him. He quickly allayed my worries about taking up his precious time; having a good conversation was more valuable to him than brooding over his health.

I didn’t know what to expect when I walked in the door, but I certainly wasn’t prepared for David’s hospitality, his gregariousness, the vivacity that he mustered in the midst of his suffering. That afternoon, we joyously talked books, religion, work, family, his childhood, criticism, creative writing, and more, all within the shadow of his dying. He told me his biggest regret was never getting to visit Israel. His literary bucket list included Anna Karenina.

As is my practice, I snapped a picture of him sitting at the table during the podcast. He’s weathered and gaunt, his shoulders slanted. A gray fedora covers the head rendered bald by chemotherapy. A copy of his book, The Elephants Teach, is on the table in front of him. In the background, on the wall, is a collection of photos of his family. He was so taken by that picture that he made it his Twitter avatar. I can’t reconcile the man in that photo with earlier ones I’ve seen of him, but that’s who he is to me.

During our talk, he said, “Every Shabbos I thank Hashem for my cancer, because it has focused me on what’s good and enabled me to ignore what’s not.”

I haven’t looked at life the same way since we spoke. I’ll treasure that afternoon for the rest of my days.

Who Does Number 2 Work For?

I was happy to see some of the 1996-2000 players there to celebrate (but no Brosius?).

Podcast – Time’s Bomb

Virtual Memories Show: Nina Bunjevac –
Time’s Bomb

Fatherland is really about who my father was, getting to understand him, and also an attempt to explain how politics can tear a family apart, just like they tore apart the people of Yugoslavia in the 1990s.”

Nina B!

fatherlandNina Bunjevac‘s new book, Fatherland, explores her family’s fractured history against the backdrop of 20th century Yugoslavia. We talk about how she left her country in 1990 only to find that it wasn’t there when she went back. We also explore the risks and challenges of researching a terrorist organization, the comics tradition in Yugoslavia and her own comics history, Serbia’s culture of friendship, why the Toronto Comic Arts Festival is the best comics event in North America, how I discovered her first book, Heartless, the perils of too much stippling, why it was controversial to publish Fatherland in Serbian dialect in Croatia, and more.

“When I got to Canada when I was 16, I saw an issue of Raw, and that pretty much did it.”

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

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About our Guest

ninab-3DavidHaweNina Bunjevac started her art training in Yugoslavia, at the Djordje Krstic School for Applied Arts; in 1990 she moved to Toronto, Canada, where she continued her studies in art at the Art Centre of Central Technical School; in 1997 she graduated from OCAD in the Drawing and Painting department. Formerly a painter, a sculptor and an art teacher, Nina found her calling in sequential arts, a form that seemed to naturally evolve out of the narrative component in her sculpture installation work. Pen and ink became her medium of choice.

Nina’s comics have appeared in a number of local and international publications: Komikaze (Croatia), Black (Italy), GIUDA (Italy), Stripburger (Slovenia), Zone 5300 (Netherlands), Stripolis (Serbia), ArtReview (UK), Asiatroma/Le Dernier Cri (France), Broken Pencil, Exile, Taddle Creek (Canada) and Mineshaft (USA). Her debut collection of comics, Heartless, came out in September 2012 with the Nova Scotia-based publisher Conundrum Press, and was translated and published in France in 2013 by Ici-même Editions. In 2011 Nina received The Golden Pen of Belgrade at the 11th International Biennale of Illustration in Belgrade for the cover image of Balkan Women in Comics (Fibra/Croatia); in 2013 she received The Doug Wright Award in the Spotlight category, also known as The Nipper, for Heartless.

Fatherland: A Family History comes out this month in Canada from Cape Graphic/Random House and will be released in the U.S. in January 2015.

Photo of Nina Bunjevac by David Hawe.

Credits: This episode’s music is Bomba by King Africa (I make no apologies). The conversation was recorded at the Marriott Bloor in Toronto on a Zoom H2n digital recorder (because there was a power supply problem that caused a weird reverb on my main recorder). The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Ms. Bunjevac and me by Amy Roth.

A Legend and an Immortal Shoot a Selfie

I had a lot of great times at SPX 2014, but my favorite moment was when Jules Feiffer said to Lynda Barry, “Lynda, can you take a selfie of us and send it to me?”, and I was there to capture it.

Jules & Lynda's selfie

Boy, do I live a blessed life.

(Go check out The Virtual Memories Show while you’re here!)

Podcast – Jewish Gothic and the Restless Artist

Virtual Memories Show: Sara Lippmann and Drew Friedman –
Jewish Gothic and the Restless Artist

“My father, to this day, will still call and say, ‘It’s not too late for medical school!'” –Sara Lippmann

Sara Lippmann on The Virtual Memories Show

Drew Friedman returns to the Virtual Memories Show

Come for the Friedman, stay for the Lippmann! Or vice versa! This week’s podcast features two great conversations: first I talk with Drew Friedman at Small Press Expo ’14 about his great new book of portraits, Heroes Of The Comics: Portraits Of The Pioneering Legends Of Comic Books (Fantagraphics), then Sara Lippmann and I solve the gender imbalance issue in literature, and the MFA vs. NYC issue, to boot! We talk about her debut short story collection, Doll Palace (Dock Street Press), getting over the fear of writing, how she lost the Rolex account for GQ, and more!

“I drew them older so you could see the weight of their careers on their faces.” –Drew Friedman

Enjoy the conversation! Then check out the archives for more great episodes! Related conversations:

Follow The Virtual Memories Show on iTunes, Twitter, Facebook, Tumblr, and RSS!

About our Guest

Sara Lippmann is the author of the story collection, Doll Palace (Dock Street Press). Her stories have been published in The Good Men Project, Wigleaf, Slice magazine, Tupelo Quarterly, Connotation Press, Joyland and elsewhere. She is the recipient of a 2012 fellowship in Fiction from the New York Foundation for the Arts and co-hosts the Sunday Salon, a longstanding reading series in the East Village.

Drew Friedman is an award-winning illustrator, cartoonist and painter. His work has appeared in Raw, Weirdo, SPY, National Lampoon, Snarf, The New York Times, MAD, The New Yorker, BLAB!, The New York Observer, The Wall Street Journal, HONK!, Rolling Stone, Field & Stream, TIME, The Village Voice, Entertainment Weekly, and more. His comics and illustrations have been collected in several volumes, the latest, Too Soon?, published by Fantagraphics in 2010. His collection of portraits, Drew Friedman’s Sideshow Freaks, was published by Blast books in 2011. He has published three collections of paintings of Old Jewish Comedians (1, 2 and 3), but none of Old Episcopal Comedians. He also raises champion beagles with his wife, K. Bidus. You can find his full bio and buy his art at his fine art prints site and you really should read his blog.

Credits: This episode’s music is Sure Shot by the Beastie Boys. The conversation with Drew Friedman was recorded at the Bethesda North Marriott and the conversation with Sara Lippmann was recorded at an undisclosed location on the Upper West Side on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photos of Ms. Lippmann and Mr. Friedman by me.

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