Tag Matt Groening

Episode 162 – Phoebe Gloeckner

phoebemid

Virtual Memories Show #162:
Phoebe Gloeckner

“The enemy of the artist is self-consciousness. You can’t be writing for anyone, because that’ll paralyze you.”

diarycoverPhoebe Gloeckner, the author of The Diary of a Teenage Girl: An Account in Words and Pictures joins the podcast on way too little sleep to talk about transgressing borders: national borders, panel borders, and familial borders. We talk about Diary’s hybrid structure and why it would have been unpitchable to a publisher (luckily, she had a two-book contract), the tightrope of portraying a 15-year-old girl’s affair with her mother’s 30-something boyfriend without making her strictly a victim or “asking for it”, and some audiences’ obsession with “the facts” of the book. We also get into her ongoing, decade-long multi-media project to recreate a life in Juarez, Mexico, her place in the comics scene (too young for the undergrounds, too old for the alternatives), her unrepeatable approach to making art, and more! Give it a listen! And buy Diary of a Teenage Girl!

“If I thought of myself as a victim, there was nobody who was going to feel sorry for me, or help me. I was a victim, but a teenager in that situation doesn’t feel like a victim. The minute you feel like a victim, any power you have is sucked from you. It’s a dangerous thing to call yourself.”

She also tells a hilarious story about her first meeting with Matt Groening, explains why she’ll never get into another relationship, discusses her attachment to the works of Dr. Ira Lunan Ferguson, and reveals perhaps the most insane version ever of the “reconnecting with your ex on Facebook” phenomenon. Go listen!

“I know there are limits in art, but I reject them as long as I can.”

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

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

About our Guest

Phoebe Gloeckner is a graphic novelist and a Professor at the University of Michigan Stamps School of Art and Design. She is the author of The Diary of a Teenage Girl: An Account in Words and Pictures (which was recently made into a film), and A Child’s Life and Other Stories, as well as many short stories, illustrations, and comics which have appeared in a variety of publications over the last 25 years. She has a master’s degree in Biomedical Communications from The University of Texas at Dallas, and was an undergraduate at San Francisco State University. She also studied at Charles University in Prague and L’Unversité D’Aix-Marseille in France. She was the recipient of a Guggenheim Fellowship in 2008. Phoebe is currently working on a multi-media novel based on the lives of several families living on the outskirts of Ciudad Juárez, Mexico. She has traveled frequently to Juárez over the last 10 years to research the project.

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 ink48 Hotel in NYC 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 pissed-off Phoebe by me.

Episode 145 – Kathe Koja and John Clute

22236568714_590f4f7689_z

Virtual Memories Show #145:
Kathe Koja and John Clute

“I started writing stories as soon as I knew what stories were. I taught myself to type when I was 8 years old, because I couldn’t type fast enough.”

IllustrationNovelist and immersive theater director Kathe Koja joins the show to talk about her new novel, The Bastards’ Paradise, the arc of her career from splatterpunk (hey, it was the ’90s) to YA to the 19th C. romance of her Poppy trilogy, the meaning of Detroit, her life-changing experience at a staging of Sleep No More, the joys (and perils) of defying genre conventions, the epiphany of brutally murdering Tweddle-Dee, saving her first novel (from when she was 14) to feel better about herself, why great poetry is like IV drugs, and more! Give it a listen!

“I think the story of the wrongness of science fiction is like an exposure of the nature of homo sapiens on this planet. Science fiction goes wrong because we go wrong, and it does it with great clarity. I want a record of that and I want to see how we go wrong and how we can learn.”

Then John Clute returns to the show to talk about establishing the Clute Science Fiction Library @ Telluride! Also, he uses the word “haecceity” in conversation, which is a Virtual Memories first! Go listen!

We talk about some books and a couple of movies in this episode. Here’s a list of them:

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

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

About our Guests

Kathe Koja’s 16th novel, The Bastards’ Paradise, is just out from Roadswell Editions. Her other novels include The Cipher, Skin, Strange Angels, Buddha Boy, Talk, and Headlong. Her work has won numerous awards, been multiply translated, and optioned for film and performance. As a director/producer, she leads the performance group nerve in creating immersive live events.

19655441552_fe367d5d1a_mVia John Clute‘s entry from the Encyclopedia of Science Fiction:

(1940- ) Canadian novelist and sf critic, in the UK from 1969; married to Judith Clute from 1964. He has been the partner of Elizabeth Hand since 1996. His first professional publication, a long sf-tinged poem called “Carcajou Lament”, appeared in Triquarterly for Winter 1960 (i.e. in 1959), though he only began publishing sf proper with “A Man Must Die” in New Worlds for November 1966, where much of his earlier criticism also appeared. This criticism, despite some studiously flamboyant obscurities, remains essentially practical, and has appeared mostly in the form of reviews, many of which first appeared in The Magazine of Fantasy and Science Fiction, Foundation, Washington Post, Omni, Times Literary Supplement, New York Times, New York Review of Science Fiction, Interzone, Los Angeles Times, Observer, Science Fiction Weekly (see Online Magazines), the Independent, Strange Horizons and elsewhere. He has written two regular review columns: Excessive Candour for Science Fiction Weekly between 1997 and 2009; and Scores, intermittently in The Infinite Matrix 2001-2003, regularly in Interzone between 2005 and 2008, and in Strange Horizons from 2010. Selections from this work, almost always revised, have been assembled in Strokes: Essays and Reviews 1966-1986 (coll 1988), Look at the Evidence: Essays and Reviews (coll dated 1995 but 1996), Scores: Reviews 1993-2003 (coll 2003), Canary Fever: Reviews (coll 2009) and Stay (coll 2014). An ongoing project to construct models of story “moves” in the literatures of the fantastic is represented by a set of connected motif entries in The Encyclopedia of Fantasy (1997) with John Grant [see The Encyclopedia of Fantasy under links below] and in The Darkening Garden: A Short Lexicon of Horror (2006), as well as in Fustian (2006 chap) with Jason Van Hollander, a long interview focused on these issues. In later essays – like “Fantastika in the World Storm” (Spring 2008 Foundation) and “Physics for Amnesia” (October 2008 The New York Review of Science Fiction), both assembled in revised form with other essays as Pardon This Intrusion: Fantastika in the World Storm (coll 2011) – he has suggested that a central task for Fantastika in the twenty-first century is to dissolve the cultural Amnesia that has arguably consumed the Western world since World War Two (see Horror in SF; Postmodernism and SF). Primarily for his critical work, he received a Pilgrim Award in 1994, the IAFA Award as Distinguished Guest Scholar in 1999, and a Solstice Award (see SFWA Grand Master Award) in 2012.

In 1960 Clute was Associate Editor of Collage, an ill fated Chicago-based Slick magazine which in its two issues did manage to publish early work by Harlan Ellison and R A Lafferty. He served as Reviews Editor of Foundation 1980-1990, and was a founder of Interzone in 1982; he remained Advisory Editor of that magazine until 2004, and then contributed the column mentioned above. He was the Associate Editor of the first edition of The Encyclopedia of Science Fiction (1979; vt The Science Fiction Encyclopedia 1979), which won a Hugo award, and was co-editor of the much-expanded second edition The Encyclopedia of Science Fiction (1993; rev 1995; further rev vt Grolier Science Fiction: The Multimedia Encyclopedia of Science Fiction 1995 CD-ROM; further rev 1999), for which he shared 1994 Hugo and Locus awards with Peter Nicholls. Though Clute and Nicholls were listed as editors, the book was in fact written mostly by them and Associate Editor Brian Stableford. The current third edition, again much expanded as The Encyclopedia of Science Fiction (online from 2011) edited by John Clute and David Langford with Peter Nicholls serving as Editor Emeritus and Graham Sleight as Managing Editor, has similarly been written in the main by its editors and Contributing Editors; it won a Hugo as Best Related Work in 2012. Science Fiction: The Illustrated Encyclopedia (1995), which he wrote solo and for which he also received a Hugo in 1996, is a companion to sf, not in any way connected to the encyclopedias listed above. The Encyclopedia of Fantasy (1997) with John Grant, for which both editors shared a 1998 Hugo, deals with fantasy within a frame broadly compatible with that governing this Encyclopedia, which is its elder sibling.

Over his career, Clute has published several sf stories and two novels: The Disinheriting Party (in New Worlds Quarterly 5, anth 1973, ed Michael Moorcock; exp 1977), which is Equipoisal with the fantastic, but demurs into rationalizations at the end; and Appleseed (2001), which is a Space Opera with an anti-Religion bias. The Made Minds (AIs) who dominate much of the action manifest themselves throughout as Avatars allied to a Forerunner mentor in support of all surviving humans, who are shunned because of the sexual (see Sex) odour they emit; but as they are genetically deaf to god (see Communications; Gods and Demons), the galaxy-wide diaspora of Homo sapiens has created a Pariah Elite destined to become central combatants in the coming universal War against the Entropy-generating deity, as proclaimed for the first time in the book’s Slingshot Ending. [JC]

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation with Ms. Koja was recorded at the Saratoga Hilton on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder (except for when I screwed up the recording and used my Zoom H2n backup). The session with Mr. Clute was done on my enCORE 200 & Zoom H5. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photos of Ms. Koja and Mr. Clute by me.

Episode 139 – Derf Backderf

Virtual Memories Show #139:
Derf Backderf

“My art has become good enough to tell the stories I want to tell. I’m a broken down punk rock geezer, but I’m still a relatively young cartoonist. I’ve only been doing long-form comics since 2010.”

derfcoverLive from CXC! Derf Backderf made a mid-career course correction, going from alt-weekly cartoons to full-length graphic novels like My Friend Dahmer and his new book Trashed (Abrams Comicarts). In this live podcast, we talk about that transition, how he became political years after being a political cartoonist, the impact of Ohio’s rustbelt disintegration on his worldview, and the surprise of his success in Europe. How do you go from garbageman to winner of the Angouleme prize? Find out from Derf Backderf in this week’s Virtual Memories ShowGive it a listen! (And go buy Trashed!)

“The most surprising and one of the most personally satisfying thing to me has been the success I’ve had in Europe, especially France. . . . I walked around Paris last week just laughing; I can’t believe my luck.”

derfpodWe also talk about the glory days of alt-weekly comics, the mental gymnastics necessary to write Jeffrey Dahmer as a human being, Derf’s observations and adventures in the French comics market, why he decided not to do a book about his cancer experience, how he made more cartoonist-friends after Joyce Brabner kicked him in the ass about being a recluse, and why it’s so much fun to develop good characters who can drive a story. Go listen! 

“I did an interview with a big national newspaper in France . . . and the opening question was, ‘We know the rust belt for three things: LeBron James, the Rock & Roll Hall of Fame, and you.'”

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

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

About our Guest

Derf Backderf was born and raised in a small town in Ohio, outside of Akron. He began his comix career as a political cartoonist, first at The Ohio State University, then at a dying daily paper in South Florida. He was fired for, as the editor put it, “general tastelessness.” Derf then gravitated to the free weekly press where his cranky, freeform comic strip, The City, appeared in over 140 papers during its 24-year run. As weekly papers began to wither, Derf moved to graphic novels, starting with Punk Rock and Trailer Parks (SLG Publishing, 2010). He followed that with the international bestseller, My Friend Dahmer (Abrams Comicarts, 2012) which was awarded an Angoulême Prize and named to the American Library Assocation’s list of The 100 Greatest Graphic Novels. His latest book is Trashed (Abrams Comicarts, 2015), a rollicking Rustbelt epic about garbagemen, a career Derf himself enjoyed when he dropped out of college for a spell. His books have been translated into French, German, Spanish, Dutch and Korean. Derf also won a Robert F. Kennedy Award for his political cartoons, and has been nominated for Eisner, Ignatz, Harvey and Rueben Awards. He lives in Cleveland, for reasons he can no longer recall.

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 & Mr. Backderf by Amy Roth.

Episode 138 – Bill Griffith

20177767054_d12d42d394_z

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.”

20177757594_2c918b00cb_z

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

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

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 125 – Signal Boost

Virtual Memories Show #125:
Dan Perkins (Tom Tomorrow) – Signal Boost

“This Kickstarter, this is me, having seen my incredibly negative narrative and hopeless sense of the future just blasted out of the water. I feel like this week has changed my life.”

25yearsbluesmall-630Dan Perkins (better known as Tom Tomorrow) is celebrating 25 years of his weekly political cartoon, This Modern World, with a kick-ass Kickstarter project to collect all of his strips in a two-volume, slipcased edition! Shockingly (to him, but not the rest of us), his fans hit his funding target in less than 24 hours, and more than doubled it by press time. (It’s open through August 4, 2015, so there’s time to make a contribution!) I caught up with a flabbergasted Perkins to talk about the resounding level of fan support for the project, the detective/archeologist work of compiling 25 years’ worth of his strips, the trepidation he had about looking at his early work, how This Modern World changed after the advent of the internet, the ways in which his cartoons work as a coded diary of his life, how the validation of this Kickstarter experience has changed his view of the future, and more! Give it a listen! (If you want to skip my rambling intro, you should jump to the 8:45 mark.)

“Charles Schulz said if he were a better writer, he’d be a novelist, and if he were a better artist, he’d be a painter, but he’s kinda good at both, so he’s a cartoonist. I’ve always held onto that.”

We also talk about his cartooning influences, his early attempt at doing a mainstream daily comic strip, his favorite contemporary political cartoonists (and his apologies for any influence he had on them), what he wants to do next, how he fights against burnout on a weekly basis, why having to make a comic about a terrible event is like sewer-work, why a Trump presidential candidacy is no fun for his comics, the way This Modern World served as a pirate radio signal, and why Pearl Jam lent him a hand on his Kickstarter (which, as I mentioned, is open through August 4, if you want to take part)!

“The internet has given mankind low-grade telepathy. We are now in this low-grade hive-mind where we have access to the darkest and most disturbing thoughts of many of our fellow humans. I think it used to be easier to maintain illusions about humanity.”

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

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

About our Guest

18965063854_514aac0dd0_mTom Tomorrow (Dan Perkins) lives outside New Haven, CT with his wife (a professor of modern political history at Yale University) and their twelve year old son. His weekly cartoon, This Modern World, appears online at The Nation, and Daily Kos, and in approximately 80 papers across the country. His cartoons have also been featured in The New York Times, The New Yorker, The Nation, U.S. News & World Report, Esquire, The Economist, and numerous other publications.

He was the 2013 recipient of the Herblock Prize, and was awarded the first place Robert F. Kennedy Journalism Award for Cartooning in 1998 and again in 2003. He was also a finalist for the Pulitze Prize in 2015. He has also been awarded the first place Media Alliance Meritorious Achievement Award for Excellence in Journalism, the first place Society of Professional Journalists’ James Madison Freedom of Information Award, the James Aronson Award for Social Justice Journalism, and the Association for Education in Journalism Professional Freedom and Responsibility Award. He is the author of 10 cartoon anthologies and one children’s book, and in 2009 collaborated with the band Pearl Jam to create the artwork for their Backspacer album.

Credits: This episode’s music is Just Breathe by Pearl Jam. The conversation was recorded at Mr. Perkins’ home 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. Perkins by me.

Episode 115 – Idlers and Belgians

Virtual Memories Show:
Edward Mendelson – Idlers and Belgians

“I have a private test for whether I’m an individual person or whether I’m part of the culture: I go to the supermarket and I look at the supermarket weeklies, and if I recognize the names, then I’m not a person, I’m a product of collective culture.”

moral-agents200Professor Edward Mendelson joins the show to talk about his new book, Moral Agents: Eight Twentieth-Century American Writers (New York Review Books), which profiles Lionel Triling, Dwight Macdonald, Alfred Kazin, William Maxwell, Saul Bellow, Norman Mailer, WH Auden, Frank O’Hara. We discuss the role of individuals in mass culture, the intellectual’s temptation to be a leader, the outdated figure of the Beloved Professor, Orwell’s misinterpretation of Auden, the writer he was terrified to meet, the failures of identity politics, the purpose of Columbia University’s Core Curriculum, his lack of nostalgia for the era of public intellectuals, the way certain books need a year off from teaching in order to recharge, and more. Give it a listen!

“All these writers were tempted by the way they were taken seriously.”

We also talk about why he hates one of my favorite novels, why he agrees with my take on Achilles’ uncanniness in the Iliad, why professors think students are getting dumber year after year, how the economic collapse of the ’70s led to improved colleges across the country, why he thinks Stoner is a study in self-pity, and more! Go listen!

Edward Mendelson on the Virtual Memories Show

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

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

About our Guest

At Columbia since 1981, Professor Edward Mendelson has also taught at Yale and Harvard. A recipient of American Council of Learned Societies, NEH, and Guggenheim fellowships, he is chiefly interested in 19th-and 20th-century literature, formal and social aspects of poetry and narrative, and biographical criticism. He is Auden’s literary executor; his book Later Auden (1999) is a sequel to his Early Auden (1981). His book, The Things That Matter: What Seven Classic Novels Have to Say About the Stages of Life, was published by Pantheon in 2006. His new book is Moral Agents: Eight Twentieth-Century American Writers, from New York Review Books. He has edited a volume of essays on Thomas Pynchon and, with Michael Seidel, Homer to Brecht: The European Epic & Dramatic Traditions. He has prepared editions of novels by Hardy, Bennett, Meredith, Wells, and Trollope, the first five volumes of a complete edition of Auden, and selections of Auden’s poems and prose. His essays and reviews have appeared in the New York Review of Books, London Review of Books, TLS, the New York Times Book Review, and many other journals and collections, and he wrote an introduction for a new edition of Gravity’s Rainbow. He has also written about computers, music, and the visual arts. He is a Fellow of the Royal Society of Literature and was the first Isabel Dalhousie Fellow at the Institute for Advanced Studies in the Humanities at the University of Edinburgh.

Credits: This episode’s music is Homesickness by Tsegue-Maryam Guebrou. The conversation was recorded at Mr. Mendelson’s office 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. Mendelson 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:

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

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 – 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

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

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.”

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: Feeling Gravett’s Pull

Virtual Memories – season 4 episode 5 – Feeling Gravett’s Pull

“Comics is a medium that isn’t going to go away. It may just now finally be coming into its own in the 21st century. In this internet era, there’s something very special about what comics do, no matter how much they get warped and changed by technology.”

More than 30 years after taking on the role of British comics’ Man at the Crossroads, Paul Gravett remains at the center of the global comics scene. We had an in-depth conversation about the growth of comics as an art form, the surprise of seeing local manga in Algeria, why he considers himself less of a comics historian or curator than a comics activist, how it feels to have been the first publisher of some of the finest cartoonists of our time, and why he should be called Paul “Mission To Explain” Gravett. Give it a listen!

“I’m probably slightly insane for wanting to go on looking and searching and questioning and provoking myself, trying to find stuff that doesn’t give me what I know already.”

Along the way, Paul and I also talk about his new book, Comics Art (Yale University Press), the new exhibition he’s curating for the British Library, Comics Unmasked: Art & Anarchy in the UK, the history of comics and his history within it, and the way virtually every lifelong comics reader’s home winds up resembling an episode of Hoarders. Paul Gravett is  one of comics’ finest ambassadors, and it was a pleasure to talk with him during my recent UK trip. (Oh, and here’s a link to that Richard McGuire comic we effuse about!)

Paul Gravett Talks Comics Art on The Virtual Memories Show

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

Paul Gravett is a London-based freelance journalist, curator, lecturer, writer and broadcaster, who has worked in comics publishing and promotion since 1981. Under the Escape Publishing imprint, he co-published Violent Cases in 1987, the first collaboration between Neil Gaiman and Dave McKean, three volumes of Eddie Campbell’s Alec between 1984 and 1986, and London’s Dark in 1988 by James Robinson and Paul Johnson. Since 2003, Paul has been the director of Comica, the London International Comics Festival. His very extensive bio can be found at his website.

Credits: This episode’s music is The Boy With the Jigsaw Puzzle Fingers by Karl Hyde. The conversation was recorded at the Hilton London Euston on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Paul Gravett by me.

Follow

Get every new post delivered to your Inbox

Join other followers: