517fEFCEZ1L._SX339_BO1,204,203,200_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.”

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.”

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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.”

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

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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.

610yfF-huNL._SX351_BO1,204,203,200_Virtual Memories Show #137:
Scott McCloud – Tumblings

“I want to be working, making comics, and knowing that the thing I’m doing right now is the thing I should be doing and I shouldn’t feel guilty about doing it. I’ve been able to keep that going much of the time for the last 20 years, and it’s kinda great.”

Is Scott McCloud comics’ leading theorist or a deranged lunatic? Find out in this lengthy conversation we recorded during SPX 2015! Scott talks about applying (and forgetting) the lessons of Understanding Comics in his new book, The Sculptor (First Second), the massive implications of crowdfunding for cartoonists and other creators, the problems with ‘balance’ in comics pages, his rebellion against Facebook, the Laurie Anderson model of comics, how he defines success, how to keep a happy marriage inside the comics world, and more! Give it a listen!

“We’ve never seen the consumer dollar at full strength. In traditional print markets, somebody spends a dollar on my work, and I get 10 cents at the end of that chain, that massive army of middlemen. Now we’re seeing what kind of world happens when the consumer dollar stays closer to a dollar. That army of consumers really has an enormous power to put your boat afloat.”

We also talk about his next book (on visual communication and education), his strengths and weaknesses as a cartoonist, making a 500-page comic book that readers could tackle in one sitting, why Reinventing Comics was like “trying to eat 10 lbs. of potato salad”, how every success story in cartooning is unique, the differences in working in print vs. working for the screen, and trying to be a scholar for the first time. Now go listen!

“Craig Thompson’s Blankets is probably off the hook now, because I finally did a comic even more sentimental. So now I made Craig look like Gary Panter.”

We mention a few books in this episode. Here they are:

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

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About our Guest

21788606830_88d3dcf5b9_mScott McCloud is the award-winning author of Understanding Comics, Making Comics, Zot!, The Sculptor, and many other fiction and non-fiction comics spanning 30 years. An internationally-recognized authority on comics and visual communication, technology, and the power of storytelling, McCloud has lectured at Google, Pixar, Sony, and the Smithsonian Institution. There’s a more extensive and funny bio at his 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 during the Small Press Expo at the Bethesda North Marriott Hotel on a Zoom H2n Handy Recorder and 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. McCloud by me.

J.D.McClatchy_NewBioImage_Credit-GeoffSpearVirtual Memories Show #136:
J.D. McClatchy – A Forest of Things

“I’m now older than the two most important men in my life were when they died: my father and James Merrill.”

The great poet, essayist, librettist and bon vivant J.D. McClatchy (Sandy, to his friends) joins the show to talk about outliving his idols, adapting my favorite novel (The Leopard!) to opera, having his life changed by a course with Harold Bloom, collecting letters from the likes of Proust and Housman, and marrying Chip Kidd! We also get into his friendship with James Merrill, pop culture’s triumph over high culture, his genetic inability to read comics, why he loathed Ezra Pound as a person and as an artist, how sexual politics has replaced social politics, the experience of teaching the first gay literature course at Yale in 1978 (and getting dropped from the university because of it), how a serious poet writes for the dead, not the living, and more! Give it a listen!

“I think the problem of all young poets — which I shared — was that at the age of 20, 25, I didn’t have anything to write about.”

We also talk about the unique challenges of his various genres (poetry, prose, libretti), the benefits of a career in academia, the notion that the great treasures of western civilization have created us and are needed to sustain us, the true stakes of writing poetry, his commonplace book (being published next spring), his Ouija experience with Anne Sexton, sailing the Atlantic for his 70th birthday, how three Ring cycles equals one San Diego Comic-Con, and why it took him four years to begin writing in a new home. This one’s a great conversation, so go listen!

“The experience of watching kids grow up imaginatively, and grow out of themselves — rather than into themselves — in the first shedding of a false skin, is something I take very seriously in my responsibility as a teacher.”

We mention a few books in this episode. Here they are:

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

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

Also, during the episode I promised to show you the official image of What Your Host Feels Like When He’s Reading Poetry, as illustrated by Roger Langridge. Whoomp, here it is:

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About our Guest

J.D. McClatchy is the author Plundered Hearts: New and Selected Poems (Knopf, 2014), as well as seven previous collections of poetry and of three collections of prose. He has edited numerous other books, including The Vintage Book of Contemporary American Poetry, and has written a number of opera libretti that have been performed at the Metropolitan Opera, Covent Garden, La Scala, and elsewhere. He is a member of the American Academy of Arts and Letters, where he served as president from 2009 to 2012. McClatchy teaches at Yale University and is the editor of the Yale Review.

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. McClatchy’s Stonington, CT 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. B/W photo of Mr. McClatchy by Geoff Spears; color photo by me.

a_decent_ride_book_cover_smallerVirtual Memories Show #135:
Irvine Welsh / Dmitry Samarov

“What would young, pre-Trainspotting Irvine Welsh think of you now?”

“He’d think I was a total wanker.”

Irvine Welsh has created unforgettable characters in his novels, beginning with the cast of Trainspotting in 1993. We caught up in his Chicago home and talked about writing, boxing, the art world, the White Sox, the creative flourish that’s seen him publish three novels in four years, the perils of success and exhausting your autobiography, the periods of life he’s interested in writing about, his first meeting with Iggy Pop, his childhood and the school-days’ balance of being a reader and being a jock, the narcissism of online living, Trainspotting over the years, Edinburgh’s failed gentrification, the ways that America’s friendlier than Scotland, and more! Give it a listen!

“I think it’s good for me as a writer not to be hanging out with writers all the time.”

We also talk about his critique of global capitalism, the problems with permanent austerity, American and UK tabloid culture, standing up David Bowie (twice), returning to Ulysses every few years, the ways William S. Burroughs helps rewire his brain, and the great anonymous allure of the first-time novelist.

“Instagram is like Methodone to Twitter’s heroin”

dmitrybookshelfThen Dmitry Samarov rejoins the show to talk about his memoir-in-progress, his paintings, his latest readings, and his decision to jump off the social network treadmill. This episode also includes my justification for being a New York Yankees fan, as well as my problematic relationship with superhero comics. Give it a listen!

We mention quite a few books in this episode. Here’s they are:

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

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

About our Guests

Irvine Welsh is the author of Trainspotting, Ecstasy, Filth (adapted for film in 2013), Glue, and Crime, among other works. His latest novel is A Decent Ride. Welsh is also producing movies and writing screenplays. A native of Edinburgh, he lives in Chicago and Miami. You can find a more extensive bio at his website.

Dmitry Samarov was born in Moscow, USSR, in 1970. He emigrated to the United States with his family in 1978. He got in trouble in first grade for doodling on his Lenin Red Star pin and hasn’t stopped doodling since. He graduated with a BFA in painting at printmaking from the School of the Art Institute of Chicago in 1993. Upon graduation he promptly began driving a cab — first in Boston, then after a time, in Chicago. He is the author of two books, Hack: Stories from a Chicago Cab, and Where To?: A Hack Memoir. Go check out his paintings, and maybe buy some.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald. The conversations were recorded in the homes of Irvine Welsh and Dmitry Samarov on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on the same equipment in a hotel room in Washington, DC. Processing was done in Audacity and Logic Pro.

BenakiMuseumVirtual Memories Show #134:
Warren Woodfin – Angel, Lion, Ox, Eagle

“From my youth, I knew I wanted to be a medievalist of some sort or another. Byzantium was always lurking off to the side, and I thought, ‘There has to be something there.'”

Professor Warren Woodfin joins the show to talk about guest curating Liturgical Textiles of the Post-Byzantine World installation at the Metropolitan Museum of Art (running through Nov. 1 2015). We talk about how he became a medieval art historian, the great tragedy of his high school years (it involves a Byzantine fresco at the Menil Collection artwork in Houston), what it’s like working on a Ukrainian burial mound and dealing with Soviet methods of archeological excavation, the secret fear of every Ph.D. candidate, and more! Give it a listen!

“It was the beauty of Byzantine art that got me first, and then wanting to understand where this beauty came from.”

We also talk about why art history gets a bum rap from the STEM proponents, the problem with centuries-old textile samples turning terminally brown, why Queens is the most Hellenic of the five boroughs, how new technologies have affected his work, the schisms that exist in the field, how he used to lay out “improved” versions of medieval monuments as a kid, and what the benefits of an art history education really are.

“I’m afraid that we’re embracing the view that those who can afford to pay for a quality education can major in liberal arts, while those whose educations are supported by the public should be limited to studying things we deem to be for the good of society.”

We mention a few books in this episode. Here’s they are:

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

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

About our Guest

Dr. Warren Woodfin’s research focuses on the art and archaeology of Byzantium and its cultural sphere in the 11th through 15th centuries. Since 2006, he has been collaborating with a research team of U.S.- and Ukraine-based scholars to study a medieval burial complex in the Black Sea steppe. The site, called the Chungul Kurgan, yielded a trove of medieval textiles, precious metalwork, and other artifacts interred with a nomadic leader of the thirteenth century. His recent article on the textiles from the burial (co-authored with Renata Holod and Yuriy Rassamakin) appeared in Ars Orientalis 38 (2010); a further article on a silver cup from the burial will appear in The Art Bulletin in 2016.

Warren has also published articles in the journals Gesta and Dumbarton Oaks Papers, and has contributed essays to various edited volumes. He is also the co-editor (with Mateusz Kapustka) of Clothing the Sacred: Medieval Textiles as Fabric, Form and Metaphor (Berlin: Edition Imorde, 2015). His book on Byzantine textiles and their role in ritual and hierarchy, The Embodied Icon: Liturgical Vestments and Sacramental Power in Byzantium, was published by Oxford University Press in 2012.

Prior to joining the faculty at Queens College as Kallinikeion Assistant Professor of Byzantine Studies, Warren held teaching and research posts at Duke, Princeton, the University of Pennsylvania, the Metropolitan Museum, and, most recently, a European Research Council-sponsored fellowship at the University of Zurich. In the spring semester of 2016, he will be a resident Fellow at the Israel Institute for Advanced Studies in Jerusalem.

Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, which seems to have become our unofficial theme song. The conversation was recorded at Prof. Woodfin’s apartment 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. Upper pic: Stephanos Tzangarolas (Greek, active 1688–1710). Lateral sanctuary door with Saint James the Brother of the Lord, 1688. From the Church of the Holy Trinity on Corfu. 2.03 x .81 m. Benaki Museum, Athens. Photo of Prof. Woodfin by me.