“I always like smart, rebellious young people who feel like the world has done them bad.”
Artist Molly Crabapple joins the show to talk about writing her new memoir, Drawing Blood (Harper), making illustrated journalism from Syria, Guantanamo and Abu Dhabi, translating Nizar Qabbani, growing into her parents’ legacy of art, Marxism and argumentation, finding her soul in the Damascus Room at the Met, balancing community and competition, stepping back from the idea that we’re in an “Age of Outrage” and more! Give it a listen!
“The world hates refugees. I’m convinced that if there was a major crisis in Canada and we had 10 million white refugees, we’d still think of some reason to keep them out. People hate impoverished people fleeing over borders.”
We also talk about Charlie Hebdo, the Occupy movement, Molly’s success at bypassing the gallery model and whether her path is replicable, the scariest place she’s ever visited as a journalist, her biggest artistic, literary and journalistic influences, and more! (And if you want to find out who she’s reading nowadays, join our Patreon and become a monthly contributor to The Virtual Memories Show!)
About our Guest
Molly Crabapple is an artist and writer in New York. She is a contributing editor for VICE, and has written for The New York Times, Paris Review, and the Guardian, among other publications. Her work is in the permanent collection of the Museum of Modern Art. Follow her on Twitter and Tumblr.
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. Crabapple’s studio 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. Crabapple by me.
“I’d rather do something that nobody else would do if I didn’t do it. That’s why I made TOON Books.”
Live 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.”
We 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.”
- CXC Live: Dylan Horrocks
- CXC Live: Derf Backderf
- CXC Live: Bill Griffith
- Lorenzo Mattotti
- Ivan Brunetti
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.
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.
“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.”
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.”
We 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.”
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.
“I don’t like drawing young people, attractive people. I used to get assigned drawings of the cast of ‘Friends’ for Entertainment Weekly, and it was painful. I would finish a drawing of Jennifer Aniston, and to reward myself, I’d draw Shecky Greene.”
It’s the Vermeer of the Borscht Belt! Drew Friedman, the great painter, cartoonist, chronicler of modern fame (and infamy), and Howard Stern’s favorite artist, invited me out to 2nd Ave. Deli in NYC one Saturday morning to record a conversation about art, leaving New York, show biz, R. Crumb, Joe Franklin, Tor Johnson, the Friars Club, Howard Stern, Abe Vigoda, the gallery show commemorating his books on Old Jewish Comedians, and his upcoming book of portraits on comic-book legends (as in ‘artists, writers and publishers’). We also talk about how Harry Einstein died during a roast for Lucy and Desi, trade Gilbert Gottfried stories, discuss the state of the illustration market, explore why he used stippling effects and why he stopped, and more. This one’s a lot of fun. Go listen!
“There’s a theory about why there were so many Jewish comedians: the smile behind the pain, the haunted smile. I don’t buy into it. I think they’re all just a bunch of hams. They like to be up there, telling jokes, being funny, and meeting women.”
Photo of Drew Friedman and Jerry Lewis courtesy of Jay Ruttenberg
About our Guest
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 Dinner Music for a Pack of Hungry Cannibals by Raymond Scott. The conversation was recorded at the 2nd Ave. Deli in Manhattan on a Zoom H4n recorder. The intro and outro were recorded in my home office on a Blue Yeti USB microphone. File-splitting is done on a Mac Mini using Audacity. All editing and processing was done in Garage Band. Photo by a waiter at 2nd Ave. Deli.