Episode 158 – Glenn Head

Virtual Memories Show #158:
Glenn Head

“I’d always been really wowed by the idea of artistic freedom, but that was all just an idea and not a reality. Actually being on the street and talking about artistic integrity is a joke. It’s a joke that’s laughing at you.”

chicagocoverIn his new comix memoir, Chicago (Fantagraphics), Glenn Head follows Orwell’s maxim, “Autobiography is only to be trusted when it reveals something disgraceful.” We talk about how he approached his first long-form comic after decades in the field, what prompted him to chronicle his mid-’70s self, the allure of underground comix, how his next work may mirror another bit of Orwelliana, why it’s always good to delate your heroes, what he’s working on next, and more! Give it a listen, and go buy Glenn’s new book!

“I think fools are always sympathetic, because they don’t know better.”

We also talk about our favorite comic stores, what he discovered about storytelling in the process of making Chicago, how he balanced the joys (and hassles) of editing comics anthologies, what he learned studying under Art Spiegelman at SVA, who his toughest (and best) critics are, how becoming a dad revised his understanding of his old man, and what it was like living in NYC through the AIDS years! Go listen!

“I learned that I’m not going to do my best work unless I risk vulnerability and putting myself out there.”

Also, if you want to find out who Glenn is reading nowadays and get a list of the books we talked about in this episode, join our Patreon and become a monthly contributor to The Virtual Memories Show! At the end of March, the new episode of our patron-only podcast, Fear of a Square Planet, will go up with a bonus segment about who he’s reading and why.

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

24723331364_f216d7967f_zGlenn Head was born in 1958 in Morristown, NJ, and began drawing comics when he was fourteen. His work has appeared in many places—from The Wall Street Journal to Screw. Others include The New York Times, Playboy, New Republic, Sports Illustrated, Advertising Age, Interview and Entertainment Weekly. Glenn’s fine art has been exhibited in New York and across the country: Exit Art’s travelling cartoon art show, “Comic Power”; “Art and Provocation: Images from Rebels” at the Boulder Museum of Fine Art; and “The New York Press Illustrator Show” at CBGB’s Gallery. His editorial cartooning appeared in the Inx show at Hofstra University. In the early ‘90s Glenn co-created (with cartoonist Kaz) and edited Snake Eyes, the Harvey Award-nominated cutting-edge comix anthology series. His solo books include Avenue D and Guttersnipe – underground urban comix that capture the intense, gritty underbelly of streetlife. Head was a frequent contributor to the Fantagraphics’ comix anthology quarterly Zero Zero. The Simon & Schuster’s comic book anthology Mind Riot featured Glenn’s work – a collection of personal stories depicting teenage angst. His project, Head Shots, a sketchbook of cartoon art, followed. From 2005 to 2010 Glenn edited and contributed to the Harvey and Eisner-nominated anthology Hotwire (three issues). Over the past six years Glenn created his graphic epic, Chicago. This coming-of-age memoir centers around a starry eyed 19-year-old with dreams of underground comics glory as he encounters his heroes, faces homelessness, despair, insanity . . . and somehow survives.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at Virtual Memories Headquarters on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on the same setup. Processing was done in Audacity and Logic Pro. Photo of Mr. Head by me.

Episode 152 – Carol Tyler

Virtual Memories Show #152:
Carol Tyler

“I don’t think you can go predict when you go into a long-term memoir project, that the people you’re writing about will see their lives profoundly change.”

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Carol Tyler spent 10 years making Soldier’s Heart: The Campaign to Understand My WWII Veteran Father: A Daughter’s Memoir (Fantagraphics). We sat down at her home in Cincinnati to talk about her perspective on the book now that it’s in her rear-view mirror. We also talk about the glass ceiling for female cartoonists, what it means to be a parent first and cartoonist second, how her dad’s PTSD affected so much of her life, how she drew the last part of Soldier’s Heart in hospital rooms, going on food stamps in the midst of this project, her struggle to retain her hippie-ish enthusiasm during a period of heavy loss (4 family members and 3 close friends in 4 years), and how she broke into a frat-house to steal post-party empties for recycling. It’s a fun, deep conversation with a master cartoonist (even when it borders on Gil-as-therapist), so give it a listen!

“I couldn’t solve my dad’s problems. I couldn’t solve him.”

I’m not kidding about the therapist business; we get into some really thoughtful stuff about how she dealt with her dad’s behavior, how she sorta tries to replace him now, and how it might lead her into whole new modes of storytelling. Go listen!

“Color speaks; it sings like music! It’s non-language-oriented. When i use it, it helps me tap into what is nonverbal so I can communicate those emotions.”

23530796552_ece06760d9_zAlso, if you want to find out who she’s reading nowadays and get a list of the books and comics we talked about, join our Patreon and become a monthly contributor to The Virtual Memories Show! The first bonus episode (coming Jan. 31) includes a conversation with Carol about how she became a reader, and the author she goes back to read perennially.

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

Carol Tyler is an award-winning comic book artist & writer best known for autobiographical stories. She received an MFA in painting from Syracuse University in the 1980s and soon after began to get her work published in San Francisco with Robert Crumb. At ComicCon in 1988, Tyler was awarded the Dori Seda Memorial award for Best New Female Cartoonist. Her work has received top honors, including ten Eisner Award nominations, the LA Book Prize, and multiple Harvey and Ignatz nominations. “The Hannah Story” was named on the list of the Top 100 Cartoonists of the Century. Her latest book is Soldier’s Heart: The Campaign to Understand My WWII Veteran Father: A Daughter’s Memoir (Fantagraphics). It describes the author’s relationship with her father and how his PTSD shaped her childhood and affected her relationships in adulthood. It has been on Time Magazine‘s Top Ten and recently on Rolling Stone Magazine‘s Top 50 Graphic Novels. She has also published two short story collections, The Job Thing (1993) and Late Bloomer (2005), all with Fantagraphics Books. Professor Tyler teaches Comics, Graphic Novels & Sequential Art at the University of Cincinnati and is also a Residency Artist with the Ohio Arts Council.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at Ms. Tyler’s house on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photos of Ms. Tyler by me.

Episode 143 – Jennifer Hayden and Summer Pierre

Virtual Memories Show #143:
Jennifer Hayden and Summer Pierre LIVE!

“Middle age is such a perfect term. You’re right in the middle of life. You could not be more in the middle of everything. Your parents are old, your kids are little. Life is just swirling around you.”
–Jennifer Hayden

titscoverTime for another LIVE episode of the Virtual Memories Show! Jennifer Hayden (The Story of My Tits) and Summer Pierre (Paper Pencil Life) join us at Labyrinth Books in Princeton, NJ to talk about comics, cancer, middle age, art vs. work, learning compassion through memoir, and more! Give it a listen!

“With my mom dying, I thought, ‘Oh, I’m gonna die? Great, I work well with deadlines!'”
–Summer Pierre

summerjencropAccording to Labyrinth Books’ promo for the event, “Art is not something we create in isolation. Art happens between the diaper change and the trip to the vet. Between the car accident and the roast chicken. Every day we fight to seize a little more art from the jaws of this wild existence.  And if we’re lucky we catch the spark while it’s rising. Autobiographical cartoonists and graphic novelists Jennifer Hayden, and Summer Pierre discuss their graphic lives with moderator Gil Roth of the Virtual Memories Show.” It’s a great conversation about making art in the interstices of life, so go listen! (And go buy The Story of My Tits!)

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guests

jenniferpromopicJennifer Hayden came to comics from fiction-writing and children’s book illustration. Her new book, The Story of My Tits (Top Shelf, 2015), is a 352-page graphic memoir and breast cancer narrative. Her previous book, the autobiographical collection Underwire (Top Shelf, 2011), was excerpted in the Best American Comics 2013 and named one of “the best comics by women” by DoubleX. She is a member of Activate (the premier webcomics collective in New York City), where she posts her webcomic S’crapbook, which earned a Notable listing in the Best American Comics 2012. Jennifer currently posts the daily diary strip Rushes at thegoddessrushes.blogspot.com. Her comics have appeared in print anthologies such as The Activate Primer, Cousin Corrine’s Reminder, and The Strumpet. After hours, Jennifer plays electric fiddle with The Rocky Hill Ramblers and The Spring Hill Band. She lives in Central New Jersey with her husband, their two college-age children, two cats, and the dog.

summerilloSummer Pierre is a cartoonist, illustrator, writer, and teacher living in the Hudson Valley, NY. She makes an autobiographical comic called Paper Pencil Life, and is the author of The Artist in the Office: How to Creatively Survive and Thrive Seven Days a Week (which the Boston Globe called, “A virtual bible for artists and day jobs”) and Great Gals: Inspired Ideas for Living a Kick-Ass Life. Her writing and art have appeared in The Rumpus, Hobart, The Nashville Review & Booth Literary Journal, among other places.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at the Labyrinth Books in Princeton on a pair of Blue enCORE 200 microphones and a Blue enCORE 100 microphone feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro.

Episode 141 – Francoise Mouly

FrancoiseMoulyVirtual Memories Show #141:
Francoise Mouly

“I’d rather do something that nobody else would do if I didn’t do it. That’s why I made TOON Books.”

_2966605_origLive from CXC! Designer, editor and publisher Francoise Mouly joins the show to talk about 20+ years of New Yorker covers, launching TOON Books and cultivating a love for print, the pros and cons of going viral, the changing definitions of what’s offensive (and the time she got hauled into a meeting with an Arab Anti-Defamation League), the notion that comics are the gateway drug for reading, and more! (Sorry, no talk about her time with RAW magazine, since she and her husband, Art Spiegelman were interviewed about that later at the festival.) This episode is part of our Cartoon Crossroads Columbus series of live podcasts. Give it a listen!

“The cover of The New Yorker is where the artists have a voice, on a par with the prose authors.”

francoiseandmebyamyWe also talk about Charlie Hebdo, the historical arc of gay marriage covers, the contrasts of her multimodal education in France with the American model, which comics she started her kids off with, how she deals with the moving target of diversity, the evolution of women in the comics scene, and why kids are a fantastic audience. Go listen! 

“There are some topics the media won’t touch with the same willingness. . . . It would be more interesting if there wasn’t such jitteriness.”

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

Françoise Mouly is the publisher and Editorial Director of TOON Books, which she launched in 2008. She joined The New Yorker as art editor in 1993. Ms. Mouly has been responsible for more than 1000 covers during her tenure at The New Yorker. The American Society of Magazine Editors (ASME) has chosen many of Ms. Mouly’s images as “best cover of the year.” In 2012, for the publication of “Les Dessous du New Yorker” by Editions de La Martinière, Galerie Martel in Paris presented “New Yorker Covers,” an exhibit of artwork by Mouly and seventeen other artists. Starting in 1980, Ms. Mouly was the founder, publisher, designer and co-editor with her collaborator and husband, cartoonist Art Spiegelman, of the pioneering comics anthology RAW, where Spiegelman’s MAUS was first published. In 1998, after looking for material to help her two children become readers, Ms. Mouly established a RAW Junior division, to publish first the Little Lit collection of comics with HarperCollins, then The TOON Treasury of Classic Children’s Comics with Abrams, and launched the TOON Books imprint.

Born in Paris, Françoise moved to New York in 1974. She was named Chevalier in the Order of Arts and Letters by the French Ministry of Culture and Communication. Among the many honors she has received are an honorary Doctorate from Pratt Institute, Gold and Silver medals as well as the Richard Gangel Art Director Award from the Society of Illustrators, and France’s highest honor, the Legion of Honour. She and her husband live in Manhattan.

You can follow Francoise on Twitter at @francoisemouly and TOON Books at @TOONbooks.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at the Cultural Arts Center in Columbus, OH during Cartoon Crossroads Columbus in October 2015 on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of me & Ms. Mouly by Amy Roth. Sad to say I can’t find a credit for the photo of Ms. Mouly at the top of the page.

Episode 138 – Bill Griffith

Virtual Memories Show #138:
Bill Griffith

“With this new book, I’m reconnecting with my earlier self from the underground era, but with all the experience and skill that I’ve gained in the last 30 years of doing a daily strip.”

517fEFCEZ1L._SX339_BO1,204,203,200_ Bill Griffith is best known for nearly 30 years of daily comic strips featuring the absurd, surreal American treasure known as Zippy the Pinhead, but he’s also the author of the amazing graphic memoir, Invisible Ink: My Mother’s Love Affair With A Famous Cartoonist (Fantagraphics). This new 200-page work chronicles Bill’s mother’s affair with the cartoonist Lawrence Lariar, and explores notions of family, infidelity, art, vanishing New York, the transience of reputation and memory, and of course, comics. The book is so significant that I decided to have two separate sessions with Bill, one to discuss his background and his comics history, and the other to focus on Invisible Ink. In part 1, we tackle Bill’s discovery of underground comics and the scene in ’70s San Francisco, his fine art education, the inescapable importance of Robert Crumb, his collaboration with Art Spiegelman on Arcade magazine, how he wound up with a syndicated daily Zippy comic strip, his rediscovery of diners, muffler-men, and roadside advertising icons, his surprisingly youthful audience, the responsibility of blowing up his readers’ minds, and more! Give it a listen! (And go buy Invisible Ink!)

“We thought of Arcade magazine as a life-raft. We were worried that underground comics would die in two ways: economically, with the Supreme Court ruling on pornography . . . and through the limits of its own audience, which was centered around headshops. Arcade was supposed to be where underground comics went to grow up, and build a wider audience.”

Part 2 of this episode takes place at the inaugural Cartoon Crossroads Columbus, where I interviewed Bill in front of an audience that included Art Spiegelman. This section focuses on Invisible Ink, and covers Bill’s relationship with his parents, the reasons he pursued the story of his mother’s affair, the transience of fame, his need to re-draw all of Lawrence Lariar’s art in his book, how he reacted when his mother wanted to get a tattoo of Zippy, what he’s learned from teaching cartooning at SVA, and more! We had two great conversations, so go listen to them!

“Art Spiegelman told me he liked Zippy, but it was a little like being stuck in an elevator with a crazy person.”

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Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

Bill Griffith grew up in Levittown, NY. He attended Pratt Institute and studied painting and graphic arts concurrently with Kim Deitch — they dropped out about the same time. Inspired by Zap, Griffith began making underground comics in 1969, and joined the cartoonists in San Francisco in 1970. Griffith’s famous character Zippy the Pinhead made his initial appearances in early underground comic books, morphing into a syndicated weekly strip in 1976 and then a nationally-syndicated daily strip a decade later. Griffith is married to cartoonist and editor Diane Noomin. They live in Connecticut. His new book is Invisible Ink: My Mother’s Love Affair With A Famous Cartoonist (Fantagraphics).

You can find a more extensive bio at Bill’s site.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at Mr. Griffith’s studio in Connecticut in August 2015 and at the Cultural Arts Center in Columbus, OH at Cartoon Crossroads Columbus in October 2015 on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photos of Mr. Griffith by me.

Episode 120 – Laboratory of Imagination

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Virtual Memories Show:
Lorenzo Mattotti – Laboratory of Imagination

“In my work, I always try to arrive at a new level of capacity. To do that, you must be ready spiritually. When I arrive at that level, there is a fear. You have to break your knowledge to arrive at that level.”

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Lorenzo Mattotti is one of my favorite artists (and cartoonists and illustrators), so it was a thrill to sit down to record with him during Toronto Comic Arts Festival! We talked about his newest book, Hansel and Gretel, how a trip to Patagonia led to a new phase of his art, and why he decided to become a cartoonist instead of a painter (while making his rep in fashion illustration). Give it a listen!

“I’m always curious to look back at my early work, because sometimes I’m so depressed and so lost that I need to go back and say, ‘Look at this! You were able to do that! Go on!’ And sometimes I look at my work and think it was another person who did that.”

coloricataWe talk about the interaction between his comics, paintings, and commercial illustration work, the thread of transformation myths in his comics, how he’s learned to improvise after mastering a controlled style, why he prefers working with writers over writing stories by himself, what fashion taught him about technique and glamour, his “poor parents'” reaction to his comics, his need to find new artistic challenges, how he does those amazing New Yorker covers, who he’s reading, and more!

“[Pinocchio] became a laboratory of imagination. I see how I can return to it year after year and make new interpretations of it.”

Enjoy the conversation! Then check out the archives for more great episodes! You might like:

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About our Guest

Lorenzo Mattotti is a highly sought-after illustrator (with frequent appearances in and on The New Yorker) and acclaimed graphic novelist. His books include Fires, Murmur, Works, Pinocchio, Dr. Jekyll & Mr. Hyde, Stigmata, The Raven (with Lou Reed), The Crackle of the Frost, and his newest book, Hansel and Gretel (with Neil Gaiman). In addition to his comics and illustration work, Lorenzo Mattotti is a highly respected multi-disciplinary artist, from reinterpreting reinterpreting the models of the most famous fashion designers for “Vanity” magazine, to designing the title sequences for the film “Eros” by Wong Kar-wai, to directing an animated version of his work in the animation anthology “Fears of the Dark.” He lives in Paris, France with his wife Rina and their two children. His wife owns and runs Galerie Martel.

Credits: This episode’s music is Optical Sound by Human Expression. The conversation was recorded at the Toronto Marriott Bloor Yorkville on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of Mr. Mattotti by me.

Podcast – Creativity on Demand

Virtual Memories Show:
Kaz –
Creativity on Demand

“When I started Underworld, there were a lot of comics coming out that were autobiographical and depressing; anything but funny. I decided I was gonna be a little different. I was gonna be the Ernie Bushmiller of underground comics.”

Kaz joins The Virtual Memories Show

From Rahway to Hollywood, by way of Underworld! Kaz joins the show to talk about his career(s) as a cartoonist, animator and artist. We talk about how he fell in love with the collaborative aspect of animation (and how the SpongeBob Squarepants sausage gets made), how the world caught up to the outrageous depravity of his Underworld comic strip, how Art Spiegelman taught him to be an artistic magpie, how he may have made Mark Beyer cry, how it felt to show his parents his work in an issue of Al Goldstein’s Screw, how he learned to make a story turn funny, and what it’s like to supply creativity on demand, and more! Give it a listen!

“I didn’t make any distinction between getting published in Swank and getting published in The New Yorker.”

Kaz joins The Virtual Memories Show

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

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About our Guest

Kaz was born in Hoboken, New Jersey and started drawing comics for Art Spiegelman’s Raw Magazine while still in art school. As an illustrator and cartoonist he’s contributed to many magazines over the years (from Entertainment Weekly to The New Yorker) and started his weekly comic strip, Underworld, in The New York Press. There have been 5 published Underworld collections and editions published around the world. In 2001 Kaz joined the crew of SpongeBob SquarePants as a writer and storyboard director. That lead to his work on Cartoon Network’s Camp Lazlo, where he won an Emmy for writing, and Disney’s Phineas and Ferb where he was nominated this year for an Emmy. Kaz is currently working in Disney TV development and in January will rejoin the crew of Nickelodeon’s SpongeBob Squarepants as a staff writer. The end of 2015 will see Fantagraphics publish a hardcover collection of Underworld comics titled The Book Of Underworld.

Credits: This episode’s music is Her Eyes Are a Blue Million Miles by Captain Beefheart. The conversation was recorded in Kaz’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 Kaz by me.

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!

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

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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.

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