Category Art

Podcast – Our Lady of Organized Vituperation

Virtual Memories Show:
Mary Fleener –
Our Lady of Organized Vituperation

“I was so excited to get an issue of Weirdo in the mail. I ran up my driveway and saw my neighbor and said, ‘Look! I got a letter from Robert Crumb!’ And he said, ‘Who’s that?’ And I thought, ‘Here’s my introduction to the mainstream appreciation of underground comics.'”

lotpViva Cubismo! Mary Fleener joins the show to talk about her career in cartooning, her love/hate relationship with LA (mostly hate now, but there was a little love in the early days), the Zora Neale Hurston story that made a cartoonist out of her, the story of how Matt Groening accidentally derailed her career, her past-life regression while attending the King Tut exhibition in 1978, the roots of her Cubismo comics style, the joys of simplifying her life, the new book she’s working on, the horrors of The Comics Journal‘s message board, and more! Give it a listen!

“When I was going to college, you’d pass the guys selling ‘Muhammad Speaks,’ then you’d run into the Hare Krishnas, then there’d be the La Raza guys, then the Jesus freaks. Everything was in flux. Everybody was getting in cults. Everyone was either asking you for money or trying to convert you.”

FLEENER!

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About our Guest

Mary Fleener was born in Los Angeles when smog was at an all time high, Hollywood was still glamorous, and every woman’s ambition was to own a mink coat. Inherited good art genes from her mother and never wanted to do anything else. A collection of her comics was published in 1994 by Fantagraphics as Life of the Party. Her Illustration work has appeared in The SD Reader, OC Weekly, The Village Voice, SPIN, Guitar Player, Musician, and Entertainment Weekly, as well as projects like The Guitar Cookbook, Weird Tales of the Ramones (CD box set), Star Time (the James Brown CD box set), Carlsbad Museum of Making Music – “Hands on the Future” exhibit, and CD covers for The Insect Surfers and Buddy Blue. Her paintings have been exhibited at La Luz de Jesus Gallery, Track 16, David Zapt Gallery, Laguna Beach Art Museum Annex, LACE (Los Angeles), COCA (Seattle), Southwestern College, Patricia Correia Gallery, Sushi Gallery and Ducky Waddle’s Emporium. She also enjoys making hand-built ceramics and wheel thrown functional pieces that she glazes and fires in her own kiln. She enjoys painting on velvet, that which we all consider the King of Kitsch, but which also makes her color and “cubismo” style of drawing even more dramatic and mysterious on the plush background of black velvet. She lives is in Encinitas, CA, with her husband, a dog, a cat, and lots of stringed instruments. They have a band called The Wigbillies.

Credits: This episode’s music is Boomcubism by Brian Eno. The conversation was recorded at Ms. Fleener’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. Photos of Ms. Fleener by me.

Podcast – Slow Learner

Virtual Memories Show:
Jules Feiffer –
Slow Learner

“There are certain things that come up when you age, the abandonment of some old things and the incredible opportunity to do new things. . . . I discovered at the age of 80 I could do what I couldn’t do at 16, 20 or 30.”

Jules & Lynda's selfie

Lynda Barry takes a selfie with Jules Feiffer at SPX 2014

Jules Feiffer’s professional cartooning career began in 1945 and he’s still going strong. He achieved Mt. Rushmore status as a cartoonist, satirist, playwright and screenwriter, and his new book, the 150-page graphic novel Kill My Mother: A Graphic Novel (Liveright/WW Norton), signals both a new phase in his body of work and a return to the films noir (and comics and romans noir) that first inspired him. We talked about the new book, why he left political satire behind, how it felt to ‘learn to draw’ in his 80s, why we both hate the term “graphic novel”, how Waiting for Godot made him reconsider the possibilities of a 6-panel comic strip, what he learned about storytelling while working on a long-form comic, and more! Give it a listen!

“People like Lenny Bruce and William Steig gave me permission. And once they give you permission you walk through that door that they opened and then it’s up to you to go further. If I’ve played a role doing that, that’s great.”

Feiffer sings!

Jules Feiffer and a page from his next book

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About our Guest

Jules Feiffer‘s Pulitzer Prize-winning comic strip ran for 42 years in the Village Voice and 100 other papers. He is the author of a wide range of additional creative work, including the Obie award-winning play Little Murders, the screenplay for Carnal Knowledge, and the Oscar-winning short animation Munro. Other words include the plays Knock Knock (a Tony award nominee), and Grown Ups; the novels Harry, The Rat with Women and Ackroyd; the screenplays Popeye and I Want To Go Home (winner of the best screenplay award at the Venice Film Festival); the memoir Backing Into Forward; the children’s books The Man in the Ceiling, Bark, George, and Rupert Can Dance; and the illustrations for Which Puppy? by his daughter Kate and the children’s classic The Phantom Tollbooth by Norton Juster. His latest book is Kill My Mother: A Graphic Novel (Liveright/WW Norton).

Credits: This episode’s music is Retrospective (Duke Ellington), Passionella Prelude, and I Yam What I Yam (Robin Williams). The conversation was recorded at Mr. Feiffer’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. Photos of Mr. Feiffer (and Lynda Barry) by me.

Podcast – The Way of Pen and Sword

Virtual Memories Show:
Maria Alexander –
The Way of Pen and Sword

“The samurai believed that to be a complete person, you had to study the sword, but you also had to study the pen. They called it Bun Bu Ryo Do, the way of pen and sword. You were complete if you were a writer and a warrior, and I’ve really embraced that in my life.”

Maria AlexanderMrWickerCoverWeb joins the Virtual Memories Show to talk about her debut novel, Mr. Wicker, her intern/protege relationships with Clive Barker and Neil Gaiman, and the art of shinkendo swordplay and what George R.R. Martin gets wrong about swords. Also, we learn what happens when Lovecraftian pastiche goes wrong, how Maria realized that even geniuses have to write drafts, how her parents took syncretism to new heights, how Mr. Wicker made its way from short story to screenplay to first novel, how she deals with severe carpal tunnel syndrome, and what her love of swords has taught her about editing her work! Give it a listen!

“My mother believed everything she saw on ‘In Search Of . . .’, so our household was very imaginative.”

Ms. Wicker!

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About our Guest

Maria Alexander writes pretty much every damned thing and gets paid to do it. She’s a produced screenwriter and playwright, published games writer, virtual world designer, award-winning copywriter, interactive theatre designer, prolific fiction writer, snarkiologist and poet. Her stories have appeared in publications such as Chiaroscuro Magazine, Gothic.net and Paradox, as well as in acclaimed anthologies alongside legends such as David Morrell and Heather Graham. Her second poetry collection – At Louche Ends: Poetry for the Decadent, the Damned and the Absinthe-Minded – was nominated for the 2011 Bram Stoker Award. And she was a winner of the 2004 AOL Time-Warner “Time to Rhyme” poetry contest. When she’s not wielding a katana at her local shinkendo dojo, she’s being outrageously spooky or writing Doctor Who filk. She lives in Los Angeles with two ungrateful cats, a pervasive sense of doom, and a purse called Trog. Her new novel is Mr. Wicker (Raw Dog Screaming Press).

Credits: This episode’s music is Ironside (Excerpt), Battle Without Honor or Humanity, The Chase, and Woo Hoo from the Kill Bill soundtrack. The conversation was recorded at Ms. Alexander’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. Alexander by me.

Podcast – I Was A Teenage Structuralist!

Virtual Memories Show:
Richard Gehr – I Was A Teenage Structuralist!

“I’ve read enough Roland Barthes and Foucault to know it’s all fiction, man.”

cartoonscoverRichard Gehr’s new book, I Only Read It for the Cartoons: The New Yorker’s Most Brilliantly Twisted Artists (Amazon/New Harvest), profiles a dozen New Yorker cartoonists. We talk about the genesis of that project, lament the dearth of cartooning in print and online, bond over Abe Vigoda, and ponder why it is that so many New Yorker cartoonists had teachers or educators for parents. We also get into Richard’s history in the arts-journalism racket, the joys of Robert Walser, his time in the Boy Scouts with Matt Groening, how he built a career out of his oddball enthusiasms, and the most mind-blowing “Which celebrity did you totally melt down around?” story in the history of this podcast. (Seriously.) Give it a listen!

“I love New Yorker cartoons, but they might be the whitest form of art ever conceived.”


Richard Gehr on The Virtual Memories Show

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About our Guest

Richard Gehr has been writing about music, culture, and travel for quite a while. He has been an editor for the Los Angeles Reader, Spin, and Sonicnet/MTV Interactive. He currently writes for Rolling Stone, Spin, The Village Voice, Relix, AARP: The Magazine, and other publications. He was a senior writer for the book Alt. Culture: An A-To-Z Guide to the ’90S – Underground, Online, and Over-The-Counter and co-authored The Phish Book with the Vermont quartet. His new book is I Only Read It for the Cartoons: The New Yorker’s Most Brilliantly Twisted Artists. He resides in the Brooklyn arrondissement.

Credits: This episode’s music is Homesickness by Tsegue-Maryam Guebrou (because I’m on the road for a week). The conversation was recorded at Mr. Gehr’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on the same setup in a hotel room in San Diego, when my voice was shot from a three-day podcast-athon in Los Angeles. Processing was done in Audacity and Garage Band. Photo of Mr. Gehr 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.”

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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:

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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.

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!

 

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

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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.

Podchast – Parental Guidance

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Virtual Memories Show: Roz Chast – Parental Guidance

“Starting out at The New Yorker at 23, I thought, ‘If I draw really small, this won’t bother people too much.’ My editor told me it wasn’t just readers, but some of the older cartoonists really hated my stuff. One of them asked him if he owed my family money.”

Roz Chast is one of the best-known cartoonists around, famed for her New Yorker gag panels and comic strips about anxiety, neurosis, phobia, parental insanity, and a ton of other symptoms of our worried age. This year, she published her first long-form book, a 240-page graphic memoir about her parents’ final years called Can’t We Talk about Something More Pleasant?: A Memoir (Bloomsbury). We talk about her parents, the joy of doing a book-length project, whether her folks ever got her humor, how her shrink enabled her to structure the book, and her two biggest pieces of advice for people with elderly parents. Along, the way, we try to answer the question, “Why do old people hold onto decades-old checkbooks?”

“My mother didn’t read books about child-rearing. She was an educator, so it was sort of surprising. Maybe she felt she knew it all. And she did . . . as an assistant principal. But being an assistant principal is not the same as being a parent. It’s really, REALLY different. They almost have nothing in common.”

We also talk about her history in cartooning, why drawing chops aren’t the be-all and end-all, what makes her laugh, the best advice she ever got (from Sam Gross), and her love of Disco, the talking parakeet. Bonus: We bond over our neuroses and I talk a lot! Maybe that’s more like a minus than a bonus. Whatever.

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

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About our Guest

Roz ChastRoz Chast has loved to draw cartoons since she was a child growing up in Brooklyn. She attended Rhode Island School of Design, majoring in Painting because it seemed more artistic. However, soon after graduating, she reverted to type and began drawing cartoons once again.

She’s best known for her work in The New Yorker, but her cartoons have also been published in many other magazines, including Scientific American, the Harvard Business Review, Redbook, and Mother Jones. Her most recent books are Can’t We Talk about Something More Pleasant?: A Memoir and the comprehensive compilation of her favorite cartoons, called Theories of Everything: Selected, Collected, and Health-Inspected Cartoons, 1978-2006.

Credits: This episode’s music is Mother’s Love by Tsegue-Maryam Guebrou. The conversation was recorded at Ms. Chast’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H4N 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. Chast by me.

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