“Don’t fraternize with inkers; they’ll always get you in trouble.”
Cartooning, illustration and animation legend Arnie Levin joins the show to recount his epic career and life. We talk about Beatnik-era New York, his mother’s decades-long plot to turn him into a New Yorker cartoonist, the value of a good art director, telling the Marines he wanted to be a photographer, his two-minute education in directing animation, what it was like to see his style copied by an artist who was previously copying another artist’s style, the time Allen Ginsberg tried to give him an iguana, and more! Give it a listen! And go check out his work at Art.com!
About our Guest
This is adapted from Richard Gehr‘s wonderful book, I Only Read It for the Cartoons: The New Yorker’s Most Brilliantly Twisted Artists:
Born in 1938, the diminutive Levin sports the shaved head, handlebar mustache, and slightly rolling gait of a badass biker. Much of his upper body is tattooed with ornate Japanese imagery by a renowned yakuza body illustrator. And the more you learn about his life, the wider the gap between creator and creations seems to spread.
Levin served in the Marines before winding up as an aspiring painter amid New York City’s late-fifties beatnik heyday. “Swept up in the glamour of the beatnik era,” as he puts it, Levin co-operated an espresso house that hosted readings by the likes of Allen Ginsberg and Jack Kerouac. He worked parties as a rent-a-beatnik, encountering Bob Dylan, another new kid in town, during one such event.
At Push Pin Studio, then at the height of its influence upon the design world, he was plucked out of the messenger pool by Milton Glaser, who recommended him to Lee Savage’s Electra Studio, famous for its forward-looking movie trailers and commercials. After leaving Electra, Levin was recruited for The New Yorker by art director Lee Lorenz in 1974.
After taking up motorcycling at age of fifty-nine, Levin celebrated his new hobby with the aforementioned flurry of tattoos. He’s given up biking in the interests of personal safety, however, and now resides more or less quietly on Long Island in New York with his wife.
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 Arnie’s home 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. Photo of me and Arnie by me. It’s on my instagram. Photo of Arnie’s ink by Nate Ndosi.
It’s time for our year-end Virtual Memories Show tradition: The Guest List! I reached out to 2016’s pod-guests and asked them about the favorite book(s) they read in the past year, as well as the books or authors they’re hoping to read in 2017! More than 30 responded with a dizzying array of books. (I participated, too!) Just in time for you to make some Hanukkah and/or Christmas purchases, The Virtual Memories Show offers up a huge list of books that you’re going to want to read! Give it a listen, and get ready to update your wish lists!
This year’s Guest List episode features selections from more than 30 of our recent guests (and one bonus guest)! So go give it a listen, and then visit our special Guest List page where you can find links to the books and the guests who responded.
(painting of Scribners bookstore by Bob Eckstein from his new book, Footnotes from the World’s Greatest Bookstores: True Tales and Lost Moments from Book Buyers, Booksellers, and Book Lovers)
About our Guests
The guests who participated in this year’s Guest List are Glen Baxter, Ross Benjamin, Harold Bloom, MK Brown, Nina Bunjevac, Hayley Campbell, David M. Carr, Myke Cole, Liza Donnelly, Bob Eckstein, Glynnis Fawkes, Rachel Hadas, Liz Hand, Glenn Head, Virginia Heffernan, Harry Katz, Ed Koren, David Leopold, Arthur Lubow, Michael Maslin, David Mikics, Ben Model, Christopher Nelson, Jim Ottaviani, Ann Patty, Burton Pike, Frank Sorce, Willard Spiegelman, Leslie Stein, Tom Tomorrow (a.k.a. Dan Perkins), Andrea Tsurumi, Carol Tyler, Jim Woodring, and me, Gil Roth! Check out their episodes at our archives!
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. Most of the episode was recorded 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. Myke Cole’s segment was recorded at a friend’s apartment in NYC on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. All processing and editing done in Adobe Audition CC.
For Thanksgiving this year, I decided to eschew the regular interview-based podcast and ask all of my past guests what they’re thankful for. Since it’s a mere couple of weeks from the 2016 U.S. Presidential election, responses were all over the spectrum. Give it a listen by MP3 download or iTunes. Here’s everyone who participated (with links to their episodes of the podcast):
- Andrea Tsurumi • starts at 4:15
- Dmitry Samarov • starts at 4:30
- Chris Nelson • starts at 4:50
- Sheila Keenan • starts at 5:10
- Wallis Wilde-Menozzi • starts at 5:20
- Summer Pierre • starts at 6:45
- Glen Baxter • starts at 7:25
- Hayley Campbell • starts at 7:40
- Kathe Koja • starts at 7:50
- Charles Blackstone • starts at 8:00
- Elizabeth Hand • starts at 8:50
- David M. Carr • starts at 9:25
- David Jaher • starts at 9:45
- Zachary D. Martin • starts at 10:00
- Willard Spiegelman • starts at 10:15
- Roz Chast • starts at 10:25
- Mary Fleener • starts at 10:35
- Glynnis Fawkes • starts at 11:00
- Ed Hermance • starts at 11:30
- Josh Alan Friedman • starts at 11:40
- Jonathan C. Hyman • starts at 12:20 (more about Jonathan below)
- Liesl Schillinger • starts at 13:00
- Rachel Hadas • starts at 13:45
- Ron Hogan • starts at 14:10
- Scott Edelman • starts at 14:45
- Tom Spurgeon • starts at 16:55
- me • starts at 18:35
A few guests sent along material in addition to their written or recorded responses. Liz Hand sent a link to this video about Lincolnville, ME’s Move It! Project:
Jonathan C. Hyman’s contribution is the most involved, and requires a little unpacking. In the podcast, he says, “Despite the 2016 presidential election and the myriad social, environmental, and economic issues that have fractured our society, I am thankful that we are, and hopeful we will remain, a vibrant culture where people are free to speak openly and publicly.”
Background information and narrative: Known for his decade-long project which documents the vernacular public art, public speech, and memorial language that emerged across the United States in response to the 9/11 attacks, documentary photographer and past Virtual Memories guest Jonathan C. Hyman photographed the signage, displays, and public dialogue surrounding the 2016 presidential election.
His work on the election — including the seven images he contributed to this Thanksgiving podcast — is not meant to endorse or disparage Hillary Clinton, Donald Trump, or their supporters. As a photographer with an interest in public expression — visual and speech — and in “things by the side of the road,” Hyman traveled within an approximate 150-mile radius from his home in Sullivan County, NY to areas in New Jersey, New York, and Pennsylvania.
Here, Hyman presents a sampling of the images in this series as they appeared when he came upon them. He photographed each display keeping in mind his interest in handmade objects, the American flag, and the houses, buildings, and neighborhoods people live and work in. The majority of the signs he saw, many handmade, were supportive of Donald Trump. The large majority of the handmade signs he encountered were displayed by Trump supporters on their own property. Realizing that his findings are anecdotal, Hyman says, “I have no doubt others have seen things I have not and that there were signs supporting Hillary Clinton in areas I have both visited and not traveled to. Nonetheless, it was clear to me that where pro-Hillary Clinton signs did exist, they tended to be of the more pre-fabricated, generic lawn sort and generally less likely to be on front lawns.”
Photographs © 2016 Jonathan C. Hyman All rights Reserved
Click to enlarge each picture:
In addition to being featured on the PBS NewsHour, Hyman’s work has been featured in Time Magazine, The New York Times, the Journal of American History, and several well-known European newspapers and magazines in print and online. In the fall of 2008 Hyman toured Europe as a U.S. State Department Cultural Envoy (as part of a program organized by the American embassy in Vienna and the University of Graz, Austria.), lecturing at universities in Berlin and Tuebingen, Germany, Vienna and Graz Austria, Brno, Czech Republic, and Zagreb, Croatia about his 9/11 related photographs. In addition to lecturing publicly since 2002 at well known academic institutions, from 2008-2016 Hyman was Associate Director for Conflict and Visual Culture Initiatives at Bryn Mawr College’s Solomon Asch Center for Study of Ethnopolitical Conflict, where he also supervised the Center’s online gallery.
For More Information:
Jonathan C. Hyman can be reached at firstname.lastname@example.org
Late addition! Glenn Head writes in:
I really apologize for the delay, I just got married (something I’m deeply thankful for!) there’s been a lot on the plate, but then isn’t that true for everyone? Anyway, sorry.
At the moment I’m more hopeful than thankful, but one hope is that the people who voted in Trump actually did it for the reasons that they say (the economy, basically) and that what we saw at the rallies was a more a raucous party and letting off of steam then a sign of future mayhem. I hope that maybe things will calm down. Trump was a pitchman and a loudmouth for professional wrestling. He’s always said crazy shit for effect. Maybe — just maybe — things won’t go to hell. The tone in today’s NYTimes showed a guy who wasn’t hell-bent on being a hell-raiser. Of course being hopeful isn’t easy at a time like this. But maybe — just maybe — we’ll survive all of this.
I’m really thankful to be married. I found a good woman who loves me and I love in return, we shared our vows in front of friends and family at a great ceremony in a Brooklyn hotel and restaurant (the Whythe). It was a great party and I’m grateful for all of it.
I’m thankful as a comic book artist to be doing what I believe is the best work of my career….and I’m 58 years old too, so that feels miraculous! Very much so…
And even though I don’t read comics much these days I’m grateful for the medium itself, specifically underground comics, and even more specifically their greatest progenitor: R. Crumb. By never selling out he paved the way for others to do the same, and to focus on the art itself. He raised the bar for everyone — all cartoonists (who aren’t hacks!) owe him for that — Big Time!
I’m also thankful for the comix project I’m deep into right now: another memoir about childhood. It’s entitled “Chartwell Manor, a memoir in comics”. It’s about a boarding school I attended in Mendham, NJ in the early 1970s and the effect it’s had on my life. It’s shaping up really well and should be done in hopefully another year!
The thing I’m most thankful for is having such wonderful guests who are willing to pitch in to projects like this (and otherwise help keep me sane)!
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The episode was recorded primarily at stately Virtual Memories Manor 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. Portions by Summer Pierre, Zachary D. Martin and Scott Edelman were recorded separately and shared by e-mail. All processing and editing was done in Adobe Audition CC. Cartoons by Bob Eckstein, photos by Jonathan C. Hyman.
“The world is a mad place, and New York was a good place to be mad in.”
Artist Glen Baxter joins the show for a conversation about his new collection, Almost Completely Baxter: New and Selected Blurtings (New York Review Comics). We get into the roots of his absurdism, his first visit to New York City in the ’70s and how it changed his life, where his cowboy-thing started, why he doesn’t define himself as either an artist or a cartoonist (but maybe as a visual poet?), the challenge of doing long-form narrative when so much of his work is single-panel, our mutual dislike of the contemporary art scene, and more! Give it a listen! And go buy Almost Completely Baxter: New and Selected Blurtings!
“All the cultural vibrancy of great cities has been made less possible by the fact that people can’t afford to live there anymore. The energy is dissipated.”
We also get into how absurdism insulates him from this modern world, the impact of Brexit on British culture, why his humor was always a tough sell in the UK, the paradox of political cartoonists’ work being bought by the politicians they ridicule, the joy of ukulele, the experience of having his work knocked off by other artists, the time he got a Cartier commission, and more. Now go listen to the show!
“European culture is important to me. Having that snatched away by Brexit, well, that’s something no one discussed in any of the debates.”
About our Guest
Glen Baxter is the author of many books since the 1970s, including The Impending Gleam, The Billiard Table Murders, and Blizzards of Tweed. His work has appeared in The New Yorker, Vanity Fair, Elle, Vogue, Le Monde, The Observer, and The Independent on Sunday. He is a Chevalier of the Order of Arts and Letters, and his art is often exhibited in New York, Amsterdam, Paris, and London, where “Colonel” Baxter lives. His new collection is Almost Completely Baxter: New and Selected Blurtings (New York Review Comics).
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 Bethesda North Marriott 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 Mackie Onyx Blackjack 2×2 USB Recording Interface. Photo of Mr. Baxter by me.