Virtual Memories Show 389:
Woodrow Phoenix

Who’s driving whom? With Crash Course (Street Noise Books), British cartoonist, artist and designer Woodrow Phoenix examines what cars do to us: physically, mentally, and environmentally. We talk about the evolution of Crash Course, the stint in LA that inspired it, the visual and design choices that make it a haunting piece of art, and how he reconciles driving his Mini Cooper One. We also get into growing up in South London, what being Black means in the UK and US, his compulsion to experiment with styles, why he sticks with pencils and inks, and his typography and design background and how they inform the semiotics of Crash Course. Plus, he nerds out HARD for Carmine Infantino, we nerd out together for Al Hischfeld, and we try to figure out why his recurring themes are duplication, language, perception and the shifting nature of reality. Oh, and I try to get him to spend a lot of money on bookshelves. Give it a listen! And go read Crash Course!

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

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Woodrow Phoenix is a writer, an artist, and a designer whose work has appeared in publications across Europe, Japan and the US. His previous books include Plastic Culture: How Japanese Toys Conquered the World, Felt Mistress: Creature Couture, and the giant graphic novel She Lives. Woodrow grew up in South London after his parents emigrated to the UK from Guyana. He lived for some time in the US in Los Angeles and Brooklyn. He currently lives and works in both London and Cambridge, and spends a lot of time driving between them in his Mini Cooper One. His new book is Crash Course.

Follow Woodrow on Twitter.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Woodrow by him. It’s on my instagram.

Virtual Memories Show 388:
Margot Mifflin

“It’s especially odd for Miss AMERICA to have a crown, because if it’s a pageant that represents America and American values, then the symbolism is off, and has been for a long time.”

With her new book, Looking for Miss America: A Pageant’s 100-Year Quest to Define Womanhood (Counterpoint), Margot Mifflin has written a compelling, thoughtful history and exploration of a uniquely American phenomenon. We got together to talk about the story of the Miss America Pageant — sorry, Competition — and its cultural significance (including its racist restrictions), how the pageant has evolved over a century, sometimes reflecting women’s roles in America, sometimes reflecting men’s perspectives of women, the pageant’s heyday of the 1950s and ’60s and its struggles since then, and the 2018 decision to get rid of the swimsuit portion. Along the way, we talk about feminist protests of the pageant, the great life-story of 1951 winner Yolande Betbeze, the history of Atlantic City and its decline, the common elements of most Miss America memoirs, the one winner she wishes she’d interviewed, Philip Roth’s thread throughout her book, and how she’d change Miss America for this era. Give it a listen! And go read Looking for Miss America!

“The feminist protest of 1968 was the point at which second-wave feminism unleashed the phrase ‘women’s liberation’ into the public lexicon.”

“I would keep the scholarships, because that seems to be the real, concrete value of Miss America. . . . It’s benefited lower economic and middle-income women who might not have been able to college if not for these scholarships.”

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

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Margot Mifflin is an author and journalist who writes about women’s history and the arts. She wrote the first history of women’s tattoo culture, Bodies of Subversion: A Secret History of Women and Tattoo, and The Blue Tattoo: The Life of Olive Oatman. Her new book, Looking For Miss America: A Pageant’s 100-Year Quest to Define Womanhood, is the first feminist cultural history of the Miss America pageant. Margot’s writing has appeared in The New York Times, Entertainment Weekly, Vogue, Vice, Elle, ARTnews, Bookforum, The Los Angeles Review of Books, The Believer, O, The Oprah Magazine, The New Yorker.com, The Chronicle of Higher Education, The Washington Post, and other publications.

Margot is an English professor at Lehman College/CUNY and teaches arts journalism at CUNY’s Craig Newmark Graduate School of Journalism. She’s served as a consultant on exhibitions at The Museum of Modern Art, The New York Historical Society, and The Natural History Museum of Los Angeles County, and she curated the exhibition “Body Electric” at Ricco/Maresca Gallery.

Follow Margot on Twitter, Facebook and Instagram.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Margot by someone else. It’s on my instagram.

Virtual Memories Show 386:
Judy Gold

“Don’t tell me what I’m allowed to talk about. There’s no growth without discourse. When you start shutting people up, that’s the end of evolution.”

Comedian, actress and Emmy-winning TV writer Judy Gold joins the show to celebrate her brand new book, Yes, I CAN Say That: When They Come for the Comedians, We Are All in Trouble (Dey St.). We get into the role of comedy in society, the perils of censorship (from the left and the right), and what living through the AIDS crisis taught her about the need to laugh. We get into her history in standup, how audiences have become more offendable, how she got into her IDGAF mode in her 40s, who can take a joke and who can’t (and who can tell a joke and who can’t), the crucible of hanging out with comedians after shows, how she’s dealing with pandemic life and how COVID-19 forced the longest break in her career, what she’s learned from hosting Kill Me Now for 5+ years and who some of her Mount Rushmore guests have been, and plenty more. Give it a listen! And go read Yes, I CAN Say That!

“Every safe space has a door that leads to the real world.”

“Nothing is sacred in a comedy club. And this is the only art form where our work in progress needs an audience.”

“I found that, once you don’t give a shit, you’re much funnier.”

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“A woman in her late 40s in standup is invisible. I’ve been told I can’t get a Netflix special because I don’t ‘fit the algorithm’.”

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

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Judy Gold is an American standup comedian, actress, television writer, and producer. She won two Daytime Emmy Awards for her work as a writer and producer on The Rosie O’Donnell Show, and has starred in comedy specials on HBO, Comedy Central, and Logo. She has also written and starred in two critically acclaimed, Off-Broadway hit shows: The Judy Show―My Life as a Sitcom and 25 Questions for a Jewish Mother. She is currently the host of the hit podcast Kill Me Now. Her new book is Yes, I CAN Say That: When They Come for the Comedians, We Are All in Trouble.

There’s a longer version of her bio at her website.

 

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Judy by Justine Ungaro. It’s on my instagram.

Virtual Memories Show 384:
Adrian Tomine

“For all those years, one of the main questions in my mind was: What is my own style? What isn’t a hodgepodge of things I’ve borrowed from my heroes? With this book, it felt like a great opportunity to probe that and challenge myself to investigate that.”

Cartoonist and illustrator Adrian Tomine is in it for the long haul. With his new graphic memoir, The Loneliness of the Long-Distance Cartoonist (Drawn & Quarterly), he explores his lifelong connection to comics and the embarrassments & humiliations they’ve caused him. We get into the new book and talk about whether it was worth it, what brought him to the sketchbook style he adopted for this one, the differences between his comics and illustration work, being accepted by his cartooning heroes, and the importance of mindless time. We also talk about his ideal reader, the anxiety of influence and vice versa, what he misses about floppy comics (as opposed to bookstore graphic novels), the redactions he made in Loneliness to protect the douche-y, Adrian’s remembrances of the late Richard Sala, and much more. Give it a listen! And go read The Loneliness of the Long-Distance Cartoonist!

“I’ll always be attracted to people like Richard Sala, who have achieved so much, who are at the top of their game in some ways, who could by every right be an arrogant snob, but are completely down on themselves, alienated, and think their own work is terrible.”

“As a parent, my life has opened up in ways I wouldn’t have sought out on my own.”

“I don’t think anybody looks up to me the way I looked up to my heroes. The world has changed and younger cartoonists are very excited by the work of their peers and even of artists younger than themselves.”

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“The friendships I have in comics are irreplaceable and couldn’t be reproduced from someone outside the industry.”

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

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Adrian Tomine was born in 1974 in Sacramento, California. He began self-publishing his comic book series Optic Nerve when he was sixteen, and in 1994 he received an offer to publish from Drawn & Quarterly. His comics have been anthologized in McSweeney’s, Best American Comics, and Best American Nonrequired Reading, and his graphic novel Shortcomings was a New York Times Notable Book. His previous book, Killing and Dying, appeared on numerous best-of lists and was a New York Times graphic bestseller. Since 1999, he has been a regular contributor to The New Yorker. He lives in Brooklyn with his wife and daughters. His new graphic memoir is The Loneliness of the Long-Distance Cartoonist.

Follow Adrian on Instagram.

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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. Drawings of Adrian by him. It’s on my instagram.

Virtual Memories Show 383:
Everett Glenn

“My motivation? Kinda cookie-cutter: Desperate person doesn’t want to die of alcoholism, writes instead. That’s the blurb.”

Artist, cartoonist, and clotheshorse Everett Glenn joins the show from Berlin to talk about how narrating his life as a story helped him make (some) sense of his fragmented, chaotic upbringing (he talks more about that upbringing in this great conversation with Noah Van Sciver). We get into his evolution and influences as a cartoonist through his Unsmooth graphic novel and his recent amazing achievement of the 20-page story The Gigs (which you HAVE to read), how he skipped the idol-worship phase of literature, how Cool World and Ralph Bakshi blew his mind at an impressionable age, and how he deals with the self-eating snake of racial identity from the perspective of a Black American living in Germany. We also talk about the importance of design, the origins of his ligne claire, where his fantastic clothing sense comes from, how he learned tailoring in an attempt to get a visa, how the confidence it takes to push the fashion envelope can feed into confidence in other parts of life, and more! Give it a listen! And go read Unsmooth & The Gigs!

“Art school teaches you how to embody the idea that art is valuable.”

“Somerset Maugham was basically my dad. Khalil Gibran was my birth father and left me in Maugham’s hands.”

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“When it comes to race, it doesn’t matter what I think. I’ll always be a Black man in society. That’s something I can’t control.”

“I skipped the idol-worship stage of discovering literature. I went straight to ‘This is a person who had experiences and figured out how to use language to articulate those experiences.'”

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

Lots of ways to follow The Virtual Memories Show! iTunes, Spotify, Twitter, Instagram, YouTube, TuneIn, Tumblr, and RSS!

About our Guest

Everett Glenn is a semi-reclusive American cartoonist living in Berlin, Germany. He works in various mediums, including drawing, painting, and designing fashion accessories. His work grows out of his tumultuous upbringing and personal experiences. His most recent works are the graphic novel Unsmooth (Floating World Comics) and the story The Gigs, anthologized in NOW #8 (Fantagraphics).

Credits: This episode’s music is Fella by Hal Mayforth, used with permission from the artist. The conversation was recorded remotely via Zencastr. I used 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 Everett by him. It’s on my instagram.