“Cartooning for The New Yorker is like being in a jazz club, and you don’t go into a jazz club and play the Ramones.”
It’s late-night podcast-action with cartoonist Shannon Wheeler! We get into the history of his Too Much Coffee Man comics and his new book, Sh*t My President Says: The Illustrated Tweets of Donald J. Trump (Top Shelf), learning the language of cartooning at The New Yorker (and learning to work with a new editor there), the ways his architecture training informs his storytelling, his discovery of the Fabulous Furry Freak Brothers at WAY too young an age, the cartooning trick that made him want to draw, his dream project on the history of northern California, and the redemption of the guy who used to dress up as TMCM at conventions! It’s coffee-fueled! Give it a listen! And go buy Sh*t My President Says!
“Liberals can be some of the most conservative people you’ll ever meet.”
About our Guest
Shannon Wheeler is the Eisner Award-winning creator of Too Much Coffee Man, who has appeared internationally in newspapers, magazines, comic books and opera houses. He has contributed to a variety of publications, including The Onion newspaper and The New Yorker magazine. Wheeler currently lives in Portland, OR with his cats, chickens, bees, girlfriend and children. He publishes a comic every day at tmcm.com.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at an undisclosed location on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photos of Mr. Wheeler by me. They’re on my instagram.
“I’m able to be what people want me to be when I’m behind the bar or playing music, but I’m not a performer by nature, so it’s not an easy transition. With comics, the joy I feel when I’m drawing comes through.”
Cartoonist Leslie Stein joins the show to celebrate her new book, Time Clock (Fantagraphics)! We talk about her amazing diary comics (recently collected in Bright-Eyed At Midnight), why she picked a really weird name for her ongoing comics project (Eye of the Majestic Creature), the artistic benefits of boredom, finding her style(s), drawing for online vs. print (and color vs. b/w), her strategy for surviving comic cons and festivals, how she got a gig publishing comics at VICE, the disconcerting discovery that she had an audience, and how she strikes a balance of cartooning, being in a band, and tending bar! Give it a listen! And buy her newest books, Time Clock and Bright-Eyed At Midnight (my personal fave of all her work)!
“I’ve been thinking about this one project for five years, and that’s been keeping me from starting it. I feel like it could be amazing or it could be terrible, and I just have to spend a few years on it to figure that out.”
This episode was recorded at the School of Visual Arts, where Leslie studied. Past guest Nathan Fox, chair of the MFA Visual Narrative Department at SVA, offered us a space to record. SVA’s low-residency MFA Visual Narrative Program includes two years online and three summers in NYC. The program focuses on the growing need for original content creators in advertising, video games, picture books, graphic novels, film, comic arts, illustration and animation, and it prepares artists and authors to become innovators in the ever-evolving art of visual storytelling. Now go listen to the show!
“I started diary comics on a whim, which is how I approach everything.”
About our Guest
Leslie Stein is a cartoonist and musician living in Brooklyn, New York. She is the author of the comic book series Eye of the Majestic Creature, as well as the author of Bright-Eyed At Midnight, a collection of diary comics, both published by Fantagraphics Books. She regularly contributes comics to VICE. She plays music with Prince Rupert’s Drops.
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 School of Visual Arts 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, inside a closet in Des Allemands, LA. Processing was done in Audacity and Logic Pro. Photo of Ms. Stein by me.
“I really think New Jersey has the most diverse food culture around.”
This week, John Holl joins the show to talk about his new book, Dishing Up New Jersey: 150 Recipes from the Garden State (with photos by my wife)! We also get into his work as editor of All About Beer, becoming a journalist at 16, traveling to Cuba on a beer run, the weirdest ingredients that craft brewers incorporate, why he thinks NJ is the best dining state in the country, and more! Recorded at Carton Brewing Co. Give it a listen! And buy Dishing Up New Jersey!
“The internet has made some research easier, but it’s also made some reporters lazier. I feel fortunate having learned from reporters of the old school.”
We also get into how newsrooms and journalism have changed over his 20-year career, how he discovered the craft beer scene while reporting on the road, the farthest he’s traveled on a beer assignment, how the Blizzard of ’96 changed his life, why it can be hard to separate craft and mainstream beers, and where his love of NJ comes from. Go listen!
“I’m less interested in rare beers. I’m always looking for the next fun experience with new friends, or brewers, where I can have a well-made pint and a good time. My memories of the people are stronger than those of the liquid in the glass.”
About our Guest
John Holl is a New Jersey native and covered the Garden State for the New York Times and the Newark Star-Ledger. He began his career at New Jersey Network Television and has written for the Wall Street Journal, the Washington Post, Wine Enthusiast, and many other publications. He is the award-winning editor of All About Beer magazine, the author of Dishing Up New Jersey and The American Craft Beer Cookbook, and is a syndicated newspaper columnist. John is an avid home cook and lives in Jersey City, where his exit is 14C.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Carton Brewing Co. in Atlantic Highlands, NJ, on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder.
“Being in a wheelchair didn’t change me; it just made things harder to do.”
From the Flora-Bama to Vietnam, Claudia Young has sprinted through life. We got together to talk about running songwriting workshops in Nashville, redesigning the menu for the hippest bar in Cleveland, living in the Chelsea Hotel as a teen, and being confined to a wheelchair for the past 35 years. We also talk about food-blogging, southeast Asia’s pull on her, the place she regrets she’ll never visit, what she’s reading, and getting the sear on a scallop! It’s a fascinating conversation, so give it a listen!
About our Guest
Claudia Young used to blog at CookEatFret. She should probably get back to that.
Credits: This episode’s music is The Wheel by Roseann Cash. The conversation was recorded 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 Ms. Young by me, photo of both of us by Amy Roth.
“Churchill was one of the last members of the Aesthetic Movement, except he applied his aestheticism to war.”
Professor Jonathan Rose joins the show to talk about his new book, The Literary Churchill: Author, Reader, Actor (Yale University Press). It’s a fascinating work about the books and plays that influenced one of the 20th century’s greatest statesmen, drawing connections from Churchill’s literary interests (and aspirations) to his policy decisions. Prof. Rose tells us about the most surprising literary influence he discovered, Churchill’s roots in Victorian melodrama, his love of the coup de theatre, his no-brow approach to art, how Hitler was like a photo-negative of Churchill, and why a politician like him would never survive in today’s party-line system.
“Just as Oscar Wilde was a public performer who created a persona, I think Churchill did something very similar in his life. His greatest creation was Winston Churchill. It was his greatest work of art.”
Along the way, Prof. Rose also tells us about the one book he wishes Churchill had read, why Churchill would love the internet, why so many politicians cite him as an influence but fail to live up to his example, what it’s like teaching history to students who weren’t alive during the Cold War, and why we need more literary biographies of political figures (at least, for those who read).
About our Guest
Jonathan Rose is William R. Kenan Professor of History at Drew University. He was the founding president of the Society for the History of Authorship, Reading and Publishing, and he is coeditor of that organization’s journal, Book History. His book The Intellectual Life of the British Working Classes: Second Edition won the Longman-History Today Historical Book of the Year Prize, the American Philosophical Society Jacques Barzun Prize in Cultural History, the British Council Prize of the North American Conference on British Studies, the SHARP Book History Prize, and the New Jersey Council for the Humanities Book Prize. It was shortlisted for the Duff Cooper Award and the British Academy Book Prize, and named a Book of the Year by the Economist magazine. His other publications include The Edwardian Temperament, 1895-1919, The Holocaust and the Book: Destruction and Preservation (Studies in Print Culture and the History of the Book), and A Companion to the History of the Book (with Simon Eliot). His latest book is The Literary Churchill: Author, Reader, Actor (Yale University Press).
Credits: This episode’s music is Mr. Churchill Says by The Kinks (duh). The conversation was recorded at Mr. Rose’s home on a pair of Blue enCORE 200 microphones feeding into my brand-new 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 Prof. Rose by me.
“Restaurants follow the opposite direction of stories: they’re like finding a book of blank pages and trying to come up with something to fill the space. That’s not how it goes with stories.”
Charles Blackstone, managing editor of Bookslut, joins us to talk about his new novel, Vintage Attraction, out this week from Pegasus Books! We recorded in Chicago last April, so he wasn’t in full book-publicity mode, and I hadn’t read the book. Instead, our conversation veers all over the place, covering his descent into post-grad career madness, the problems with getting mired in literary theory, what he does at Bookslut, how he deals with the sheer volume of books published every day, Chicago’s restaurant culture, the similarities between deconstruction and molecular gastronomy, and how to master the party-throwing art of taking a guest’s coat while handing them a beverage.
But we really do talk about Vintage Attraction (which has great blurbs from Jay McInerney and Gary Shteyngart)! I promise!
About our Guest
Charles Blackstone is the managing editor of Bookslut, as well as the co-editor of the literary anthology The Art of Friction: Where (Non)Fictions Come Together (University of Texas Press, 2008) and the author of the novel, The Week You Weren’t Here (Dzanc and Low Fidelity Press, 2005). His short fiction has appeared in Esquire‘s Napkin Fiction Project (the piece was also selected for the &NOW Awards: The Best Innovative Fiction anthology), Lewis University’s Jet Fuel Review, and the University of Maine’s Stolen Island. His short plays have been produced by Victory Gardens and Lifeline Theaters. He is married to Master Sommelier and television personality Alpana Singh. He currently is a ghostwriter, coach, and editor for clients at all stages of the publication process in private practice. He and his wife live with their pug, Haruki Murakami, in downtown Chicago. His new novel is Vintage Attraction.
Credits: This episode’s music is Graceless by The National. The conversation was recorded at the Hyatt Regency in Chicago on a pair of AT2020 cardioid condenser mics feeding into a Zoom H4n recorder. The intro and outro were recorded in the InterCity Hotel in Frankfurt on a Samson Meteor USB Studio mic. File-splitting was done in Audacity and all editing and processing was done in Garage Band on a Macbook Air. Photo of Charles Blackstone by me.