Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85
Amy Kurzweil Reaches Back in Time Through Graphic Memoir and AI Chatbot
‘Blue Beetle’ is More Than a Bug in the Superhero System
Jamie Lee Curtis’ Graphic Novel Shows How ‘We’re Blowing It With Mother Nature’
Please, Don’t Forget Me: Cafes We Have Lost
At the Mission Art and Comic Expo, ‘Hella Chicano Artists’ Rep a Local Scene
Colin Kaepernick Describes How He Embraced His Blackness as a Teenager
Cartoonist MariNaomi Goes Digging for Closure in ‘I Thought You Loved Me’
‘No Straight Lines’ Traces Transformation Through Comic Books
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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins, the first woman to draw Wonder Woman and an underground force for women in comics, died in San Francisco on Wednesday. \u003ccite>(Liz Hafalia/ The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trina Robbins, the groundbreaking San Francisco comic book artist, writer, editor and feminist, died on Wednesday at the age of 85. Robbins is primarily remembered for establishing — and popularizing — feminist comic books, raising women’s voices and for being the first woman to ever draw Wonder Woman comics.\u003c/p>\n\u003cp>The comic book world was quick to share its grief and reverence for Robbins and her work.\u003c/p>\n\u003cp>“You showed me what it looks like to lift up others,” Bay Area cartoonist \u003ca href=\"https://www.instagram.com/marinaomiart/\">MariNaomi\u003c/a> wrote \u003ca href=\"https://www.facebook.com/marinaomi/posts/pfbid0jaoBGfzSATry1CH3MUn9v3KS3xyG6QEJKAuYXaiQAggXpZmvipcAjfEEi7aQstU2l\">on Facebook\u003c/a>, “how easy it is to do, and how much that small gesture can mean to a young artist. It can change their life.”\u003c/p>\n\u003cp>“She proved over and over that you didn’t have to be ‘one of the boys’ to make comics,” wrote the Canadian graphic novelist \u003ca href=\"https://www.facebook.com/miriam.libicki/posts/pfbid0XuhDt8dkGtGG5LHdT9R8gisXwFCTyLWP8ZRJhJQ7uVfpR4znQurJ8qcYAmKThuP7l\">Miriam Libicki\u003c/a>. “She made highly influential superhero and underground comics, she wasn’t afraid to be a reviled feminist ball-buster, and she did it all unapologetically as a fashion-loving femme.”\u003c/p>\n\u003cfigure id=\"attachment_13955835\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg\" alt=\"A senior white woman sits on a blanket-covered couch smiling.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-768x576.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at her San Francisco home near Duboce Triangle in 2016. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Robbins first arrived in San Francisco from New York in 1970, she faced an underground comics scene that was thriving but still very much a boys’ club. Feeling shut out and lacking in collaborators, Robbins gathered together every female cartoonist she could find. Together, they made \u003cem>It Ain’t Me, Babe\u003c/em>, the first collection of comics created entirely by women. Printed by San Francisco underground comics publisher \u003ca href=\"https://lastgasp.com/\">Last Gasp\u003c/a>, it was a swift hit, selling 40,000 copies in three printings. It was also a game-changer for comic book artistry in the Bay and beyond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within two years, \u003cem>It Ain’t Me, Babe\u003c/em> had grown into a serialized collection called \u003cem>Wimmen’s Comix\u003c/em>. (Robbins’ contributions to the first issue included “\u003ca href=\"https://worldqueerstory.wordpress.com/tag/sandy-comes-out/\">Sandy Comes Out\u003c/a>,” featuring the first openly lesbian character in comics.) The uncompromising publication was edited by 10 different women over 17 issues, and would go on to run for 20 years. In 2016, every issue of \u003cem>Wimmen’s Comix\u003c/em> was immortalized in a two-volume book published by Fantagraphics. At the time, \u003ca href=\"https://www.kqed.org/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due\">Robbins discussed her early motivations\u003c/a> with KQED Arts.\u003c/p>\n\u003cp>“In the early ’70s, many of the guys’ comics were very misogynistic,” Robbins said. “When I would criticize [their comics] depicting rape as funny, they’d say ‘Oh, you just don’t have a sense of humor.’ So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_13955832\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955832\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg\" alt=\"A full page illustration of a worried girl and a man standing nearby. It's titled "A Teenage Abortion."\" width=\"1440\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-1020x920.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-768x693.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Wimmen’s Comix’ depicted women’s issues in unapologetic terms. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Robbins also illuminated forgotten female comic book artists who had inspired her growing up, including \u003ca href=\"//www.amazon.com/Gladys-Parker-Comics-Passion-Fashion/dp/1613451814/ref=sr_1_4\">Gladys Parker\u003c/a>, \u003ca href=\"https://www.amazon.com/Lily-Ren%C3%A9e-Escape-Artist-Holocaust/dp/0761381147/ref=sr_1_5m\">Lily Renée\u003c/a> and \u003ca href=\"https://www.amazon.com/Nell-Brinkley-Woman-Early-Century/dp/0786411511/ref=sr_1_25\">Nell Brinkley\u003c/a>, bringing them to life in a series of graphic novels. Robbins also penned \u003ca href=\"https://www.parigibooks.com/pages/books/23594/trina-robbins/a-century-of-women-cartoonists\">\u003cem>A Century of Women Cartoonists\u003c/em>\u003c/a>, \u003ca href=\"https://www.goodreads.com/en/book/show/136566\">\u003cem>The Great Women Cartoonists\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://archive.org/details/fromgirlstogrrrl0000robb\">From Girls to Grrrlz: A History of [Female] Comics From Teens to Zines\u003c/a>. \u003c/em>Her 2017 memoir, \u003ca href=\"https://www.fantagraphics.com/products/last-girl-standing\">\u003cem>Last Girl Standing\u003c/em>\u003c/a>, featured a 1966 photograph of Robbins on the cover, surrounded by friends backstage at a Donovan concert in Los Angeles. At the time, before the ascent of her comics, she worked as a fashion designer and boutique owner.\u003c/p>\n\u003cp>In the ’80s, Robbins created unabashedly feminine series like \u003ca href=\"https://www.indyplanet.com/california-girls\">\u003cem>California Girls \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"https://www.cbr.com/misty-young-girl-comic-marvel/\">Meet Misty\u003c/a>, \u003c/em>which was published by Marvel’s Star Comics imprint. In 1985, her work on \u003cem>Wonder Woman\u003c/em> began, immortalized with \u003cem>The Legend of Wonder Woman\u003c/em> series.\u003c/p>\n\u003cp>In the ’90s, Robbins published \u003cem>Choices\u003c/em>, a \u003ca href=\"https://www.amazon.com/Choices-pro-choice-anthology-National-Organization/dp/B0028GAGHQ\">comics anthology for the National Organization of Women\u003c/a> that raised money for pro-choice causes. She also cofounded Friends of Lulu — an organization that, for almost two decades, elevated women’s voices in the comic book industry.\u003c/p>\n\u003cp>In 2013, Robbins was inducted into the Will Eisner Hall of Fame at San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Decades of love for this art and this community. There is no replacement for her,” \u003ca href=\"https://www.facebook.com/gail.simone.90/posts/pfbid032RF5TWBDHVHtKsXjQnTnRviy7ERTeGWNicFXfwFfZXiTdtj7ansNqCUQ6LANRxC4l\">Gail Simone wrote\u003c/a> in Robbins’ honor. “We are blessed with her books, her art, and her guidance, and those all will live on.”\u003c/p>\n\n","blocks":[],"excerpt":"Robbins popularized feminist comic books and became the first woman to draw Wonder Woman comics.","status":"publish","parent":0,"modified":1712878423,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":765},"headData":{"title":"Obituary: Trina Robbins, Groundbreaking Feminist Cartoonist | KQED","description":"Robbins popularized feminist comic books and became the first woman to draw Wonder Woman comics.","ogTitle":"Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85","ogDescription":"","ogImgId":"","twTitle":"Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85","twDescription":"","twImgId":"","socialTitle":"Obituary: Trina Robbins, Groundbreaking Feminist Cartoonist %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955821/trina-robbins-feminist-cartoonist-dies-at-85","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955828\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg\" alt=\"A senior white woman smiling as she holds up a comic book titled 'It Aint Me Babe.’\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins, the first woman to draw Wonder Woman and an underground force for women in comics, died in San Francisco on Wednesday. \u003ccite>(Liz Hafalia/ The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trina Robbins, the groundbreaking San Francisco comic book artist, writer, editor and feminist, died on Wednesday at the age of 85. Robbins is primarily remembered for establishing — and popularizing — feminist comic books, raising women’s voices and for being the first woman to ever draw Wonder Woman comics.\u003c/p>\n\u003cp>The comic book world was quick to share its grief and reverence for Robbins and her work.\u003c/p>\n\u003cp>“You showed me what it looks like to lift up others,” Bay Area cartoonist \u003ca href=\"https://www.instagram.com/marinaomiart/\">MariNaomi\u003c/a> wrote \u003ca href=\"https://www.facebook.com/marinaomi/posts/pfbid0jaoBGfzSATry1CH3MUn9v3KS3xyG6QEJKAuYXaiQAggXpZmvipcAjfEEi7aQstU2l\">on Facebook\u003c/a>, “how easy it is to do, and how much that small gesture can mean to a young artist. It can change their life.”\u003c/p>\n\u003cp>“She proved over and over that you didn’t have to be ‘one of the boys’ to make comics,” wrote the Canadian graphic novelist \u003ca href=\"https://www.facebook.com/miriam.libicki/posts/pfbid0XuhDt8dkGtGG5LHdT9R8gisXwFCTyLWP8ZRJhJQ7uVfpR4znQurJ8qcYAmKThuP7l\">Miriam Libicki\u003c/a>. “She made highly influential superhero and underground comics, she wasn’t afraid to be a reviled feminist ball-buster, and she did it all unapologetically as a fashion-loving femme.”\u003c/p>\n\u003cfigure id=\"attachment_13955835\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg\" alt=\"A senior white woman sits on a blanket-covered couch smiling.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-768x576.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at her San Francisco home near Duboce Triangle in 2016. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Robbins first arrived in San Francisco from New York in 1970, she faced an underground comics scene that was thriving but still very much a boys’ club. Feeling shut out and lacking in collaborators, Robbins gathered together every female cartoonist she could find. Together, they made \u003cem>It Ain’t Me, Babe\u003c/em>, the first collection of comics created entirely by women. Printed by San Francisco underground comics publisher \u003ca href=\"https://lastgasp.com/\">Last Gasp\u003c/a>, it was a swift hit, selling 40,000 copies in three printings. It was also a game-changer for comic book artistry in the Bay and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within two years, \u003cem>It Ain’t Me, Babe\u003c/em> had grown into a serialized collection called \u003cem>Wimmen’s Comix\u003c/em>. (Robbins’ contributions to the first issue included “\u003ca href=\"https://worldqueerstory.wordpress.com/tag/sandy-comes-out/\">Sandy Comes Out\u003c/a>,” featuring the first openly lesbian character in comics.) The uncompromising publication was edited by 10 different women over 17 issues, and would go on to run for 20 years. In 2016, every issue of \u003cem>Wimmen’s Comix\u003c/em> was immortalized in a two-volume book published by Fantagraphics. At the time, \u003ca href=\"https://www.kqed.org/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due\">Robbins discussed her early motivations\u003c/a> with KQED Arts.\u003c/p>\n\u003cp>“In the early ’70s, many of the guys’ comics were very misogynistic,” Robbins said. “When I would criticize [their comics] depicting rape as funny, they’d say ‘Oh, you just don’t have a sense of humor.’ So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_13955832\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955832\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg\" alt=\"A full page illustration of a worried girl and a man standing nearby. It's titled "A Teenage Abortion."\" width=\"1440\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-1020x920.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-768x693.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Wimmen’s Comix’ depicted women’s issues in unapologetic terms. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Robbins also illuminated forgotten female comic book artists who had inspired her growing up, including \u003ca href=\"//www.amazon.com/Gladys-Parker-Comics-Passion-Fashion/dp/1613451814/ref=sr_1_4\">Gladys Parker\u003c/a>, \u003ca href=\"https://www.amazon.com/Lily-Ren%C3%A9e-Escape-Artist-Holocaust/dp/0761381147/ref=sr_1_5m\">Lily Renée\u003c/a> and \u003ca href=\"https://www.amazon.com/Nell-Brinkley-Woman-Early-Century/dp/0786411511/ref=sr_1_25\">Nell Brinkley\u003c/a>, bringing them to life in a series of graphic novels. Robbins also penned \u003ca href=\"https://www.parigibooks.com/pages/books/23594/trina-robbins/a-century-of-women-cartoonists\">\u003cem>A Century of Women Cartoonists\u003c/em>\u003c/a>, \u003ca href=\"https://www.goodreads.com/en/book/show/136566\">\u003cem>The Great Women Cartoonists\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://archive.org/details/fromgirlstogrrrl0000robb\">From Girls to Grrrlz: A History of [Female] Comics From Teens to Zines\u003c/a>. \u003c/em>Her 2017 memoir, \u003ca href=\"https://www.fantagraphics.com/products/last-girl-standing\">\u003cem>Last Girl Standing\u003c/em>\u003c/a>, featured a 1966 photograph of Robbins on the cover, surrounded by friends backstage at a Donovan concert in Los Angeles. At the time, before the ascent of her comics, she worked as a fashion designer and boutique owner.\u003c/p>\n\u003cp>In the ’80s, Robbins created unabashedly feminine series like \u003ca href=\"https://www.indyplanet.com/california-girls\">\u003cem>California Girls \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"https://www.cbr.com/misty-young-girl-comic-marvel/\">Meet Misty\u003c/a>, \u003c/em>which was published by Marvel’s Star Comics imprint. In 1985, her work on \u003cem>Wonder Woman\u003c/em> began, immortalized with \u003cem>The Legend of Wonder Woman\u003c/em> series.\u003c/p>\n\u003cp>In the ’90s, Robbins published \u003cem>Choices\u003c/em>, a \u003ca href=\"https://www.amazon.com/Choices-pro-choice-anthology-National-Organization/dp/B0028GAGHQ\">comics anthology for the National Organization of Women\u003c/a> that raised money for pro-choice causes. She also cofounded Friends of Lulu — an organization that, for almost two decades, elevated women’s voices in the comic book industry.\u003c/p>\n\u003cp>In 2013, Robbins was inducted into the Will Eisner Hall of Fame at San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Decades of love for this art and this community. There is no replacement for her,” \u003ca href=\"https://www.facebook.com/gail.simone.90/posts/pfbid032RF5TWBDHVHtKsXjQnTnRviy7ERTeGWNicFXfwFfZXiTdtj7ansNqCUQ6LANRxC4l\">Gail Simone wrote\u003c/a> in Robbins’ honor. “We are blessed with her books, her art, and her guidance, and those all will live on.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955821/trina-robbins-feminist-cartoonist-dies-at-85","authors":["11242"],"categories":["arts_1","arts_11615","arts_75","arts_1564"],"tags":["arts_7584","arts_1942","arts_10278","arts_1962","arts_21789"],"featImg":"arts_13955849","label":"arts"},"arts_13935873":{"type":"posts","id":"arts_13935873","meta":{"index":"posts_1591205157","site":"arts","id":"13935873","score":null,"sort":[1696959325000]},"guestAuthors":[],"slug":"amy-kurzweil-artificial-graphic-memoir-ai","title":"Amy Kurzweil Reaches Back in Time Through Graphic Memoir and AI Chatbot","publishDate":1696959325,"format":"standard","headTitle":"Amy Kurzweil Reaches Back in Time Through Graphic Memoir and AI Chatbot | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Connection is simultaneously the text and subtext of \u003cem>New Yorker\u003c/em> cartoonist \u003ca href=\"https://amykurzweil.com/\">Amy Kurzweil\u003c/a>’s new graphic memoir, \u003cem>\u003ca href=\"https://books.catapult.co/books/artificial/\">Artificial: A Love Story\u003c/a>\u003c/em>, in which she writes, “to be loved is to be known.” The book is an exploration of her patrilineal line. Her father, futurist \u003ca href=\"https://www.thekurzweillibrary.com/\">Raymond Kurzweil\u003c/a>, is a solution-oriented inventor invested in overcoming mortality. His father, Fritz “Fred” Kurzweil, was a Jewish conductor and pianist who fled from Vienna to America in the 1930s. \u003c/p>\n\u003cp>[aside postID='arts_13930458,arts_13926136,arts_13925644']Father and daughter often team up on creative projects together. \u003cem>Artificial\u003c/em> documents the time Ray recruited Amy’s help on an ongoing invention, an AI chatbot project that feeds Fred’s memories (as collected in fragmented journals) into an algorithm with hopes of allowing his descendants to have real-time conversations with him. The “Dadbot” project prompts Amy Kurzweil to wrestle with the question of whether it is possible to know and feel connected to someone you’ve never met — in this case someone who has passed. In that way, as the title states, this is a love story. \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is the second graphic memoir from Kurzweil, who recently moved from New York to San Francisco with her husband. \u003ca href=\"https://books.catapult.co/books/flying-couch/\">\u003ci>Flying Couch\u003c/i>\u003c/a> (2016) examined three generations of women in her family: Kurzweil, her mother and grandmother. “Focusing on my family history helps me speak more universally,” Kurzweil explains. \u003c/p>\n\u003cp>Kurzweil’s desire to know her grandfather runs parallel to Ray’s desire to resurrect his father, though their dissimilar professions drive them to seek answers through very different means. Where Ray uses technology, Kurzweil turns to art and storytelling. As Kurzweil works on the chatbot alongside her father — not by nature an emotionally forthcoming man — her knowledge of him deepens. \u003c/p>\n\u003cfigure id=\"attachment_13936176\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg\" alt=\"White woman with brown hair in dark purple shirt leans against wooden wall\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13936176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist and author Amy Kurzweil. \u003ccite>(Amy Kurzweil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memoir charts both her quest for intimacy and her changing understanding of it. “Can I know Fred like I know a language?” Kurzweil asks in the memoir. “Like I know a book? Like I know a person?” She is interested in the depths of knowing, which also encompasses the limits of knowing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a telling panel, Kurzweil asks her father why he originally saved Fritz’s papers, whether he had intended on reviving him via an AI avatar all along. He responds that he simply viewed them as precious. “We are patterns of information: our skills, our personalities,” Ray explains. “You could see that negatively, like we’re \u003cem>just\u003c/em> information. Or you could see it positively, like, information is spiritual.”\u003c/p>\n\u003cp>The book is drawn entirely in black, white and gray, a preference Kurzweil says stems from her belief that “comics work with projection, and sometimes the less you give people, the more they can imagine.” \u003c/p>\n\u003cp>“Paradoxically,” she explains, “having a grayscale helps people view the world with more color in their minds.” \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is a product of rapt observation. This is clear in the thoroughness of each panel’s details. Kurzweil meticulously reproduces the books on her desk (Sherry Turkle’s \u003cem>Alone Together\u003c/em>, Alison Bechdel’s \u003cem>Fun Home\u003c/em>), the wide-set half-cursive of her grandfather’s handwritten letters and extracts from her husband’s copy of Plato’s Symposium, with both the text and his enthusiastic underlining and doodling reproduced. \u003c/p>\n\u003cp>[aside postID='arts_13914459']Cities too are rendered in personalizing detail. San Francisco, where her father also lives part time, is brought to life via the interior of the Powell Street BART station, the exteriors of Philz Coffee and Aardvark Books, the skyline seen from Dolores Park. Her illustrations suggest a worldview that sees life as information. \u003c/p>\n\u003cp>Like her father, Kurzweil thinks information is precious, but details also serve an objective. “I wanted to have these three different styles to code for these three different kinds of memory that I’m working with in the book,” she explains of the choice. “The realistic style codes for documents that I really have in my possession.” Fritz’s patient slips, correspondence with various colleges when he was seeking employment in New York and press clippings reviewing his symphony conducting — she reproduces all with rigorous precision, down to the font and faded stamps. \u003c/p>\n\u003cp>Kurzweil uses a “cartoonish grayscale” (glimpsed in \u003ca href=\"https://www.newyorker.com/contributors/amy-kurzweil\">her work for \u003cem>The New Yorker\u003c/em>\u003c/a>) when depicting her own memories. “That style is more minimal because I’m allowing the reader to imbue it with their own imagination, allowing them to animate the figures in their own mind and signaling that memory includes a lot of gaps,” she explains.\u003c/p>\n\u003cp>Kurzweil describes her third style as “high contrast black and white,” which is used to depict events and people she did not directly witness — like her grandfather’s time in Vienna, pieced together through his journals and marriage and academic records. The drawings are fabricated amalgams of real places and an imagined life. Conversations with a future, more seamless chatbot get the same treatment.\u003c/p>\n\u003cp>Each of the styles performs a taxonomic function, but the care of separating them, of acknowledging that “memory is more art than science,” as she writes, reveals something else. Kurzweil’s attentiveness is an act of devotion. \u003c/p>\n\u003cp>[aside postID='arts_13934119,arts_13928253']\u003cem>Artificial\u003c/em> is an art book about AI arriving at a time when \u003ca href=\"https://www.kqed.org/arts/13928253/ai-art-artificial-intelligence-student-artists-midjourney\">the two fields are in intense conflict\u003c/a>. Kurzweil admits AI is “a huge topic.” Some of its biggest detractors — artists and authors furious that their work is being used to train AI without their consent — are frustrated with the implications for their professions. \u003c/p>\n\u003cp>“The problems in AI are not just about AI,” Kurzweil notes, “They have to do with the way AI is being used to make money for some people and not for others. I certainly have a lot of critiques of that model for AI, but I don’t think that AI is one thing.” \u003c/p>\n\u003cp>Artificial invites readers to view AI as a potential bridge. “My book engages with an instance of AI that is more personal and intimate,” she says. It is her hope “that the book can be a positive instance of complex, interesting, inspiring technology that’s used in a direction that’s more human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Artificial: A Love Story’ is out Oct. 17, 2023. Amy Kurzweil will be on a \u003ca href=\"https://www.eventbrite.com/e/picturing-lives-new-graphic-memoirs-tickets-709752578067\">LitQuake panel\u003c/a> with Fred Noland, Thien Pham and Julia Wertz on Saturday, Oct. 14 at 12 p.m. at the San Francisco Public Library’s Koret Auditorium. Booksmith hosts \u003ca href=\"https://www.booksmith.com/event/amy-kurzweil\">a launch event\u003c/a> on Tuesday, Oct. 17 at 7 p.m. with Kurzweil and Daniel Gumbiner.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"’The New Yorker’ cartoonist seeks out a grandfather she never met while her father builds a chatbot version of him.","status":"publish","parent":0,"modified":1705003257,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1150},"headData":{"title":"Amy Kurzweil’s ‘Artificial’: A Graphic Memoir Meets an AI Chatbot | KQED","description":"’The New Yorker’ cartoonist seeks out a grandfather she never met while her father builds a chatbot version of him.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Amy Kurzweil’s ‘Artificial’: A Graphic Memoir Meets an AI Chatbot %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Naomi Elias","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13935873/amy-kurzweil-artificial-graphic-memoir-ai","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Connection is simultaneously the text and subtext of \u003cem>New Yorker\u003c/em> cartoonist \u003ca href=\"https://amykurzweil.com/\">Amy Kurzweil\u003c/a>’s new graphic memoir, \u003cem>\u003ca href=\"https://books.catapult.co/books/artificial/\">Artificial: A Love Story\u003c/a>\u003c/em>, in which she writes, “to be loved is to be known.” The book is an exploration of her patrilineal line. Her father, futurist \u003ca href=\"https://www.thekurzweillibrary.com/\">Raymond Kurzweil\u003c/a>, is a solution-oriented inventor invested in overcoming mortality. His father, Fritz “Fred” Kurzweil, was a Jewish conductor and pianist who fled from Vienna to America in the 1930s. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930458,arts_13926136,arts_13925644","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Father and daughter often team up on creative projects together. \u003cem>Artificial\u003c/em> documents the time Ray recruited Amy’s help on an ongoing invention, an AI chatbot project that feeds Fred’s memories (as collected in fragmented journals) into an algorithm with hopes of allowing his descendants to have real-time conversations with him. The “Dadbot” project prompts Amy Kurzweil to wrestle with the question of whether it is possible to know and feel connected to someone you’ve never met — in this case someone who has passed. In that way, as the title states, this is a love story. \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is the second graphic memoir from Kurzweil, who recently moved from New York to San Francisco with her husband. \u003ca href=\"https://books.catapult.co/books/flying-couch/\">\u003ci>Flying Couch\u003c/i>\u003c/a> (2016) examined three generations of women in her family: Kurzweil, her mother and grandmother. “Focusing on my family history helps me speak more universally,” Kurzweil explains. \u003c/p>\n\u003cp>Kurzweil’s desire to know her grandfather runs parallel to Ray’s desire to resurrect his father, though their dissimilar professions drive them to seek answers through very different means. Where Ray uses technology, Kurzweil turns to art and storytelling. As Kurzweil works on the chatbot alongside her father — not by nature an emotionally forthcoming man — her knowledge of him deepens. \u003c/p>\n\u003cfigure id=\"attachment_13936176\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg\" alt=\"White woman with brown hair in dark purple shirt leans against wooden wall\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13936176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Amy-SLO-headshot_2000-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist and author Amy Kurzweil. \u003ccite>(Amy Kurzweil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memoir charts both her quest for intimacy and her changing understanding of it. “Can I know Fred like I know a language?” Kurzweil asks in the memoir. “Like I know a book? Like I know a person?” She is interested in the depths of knowing, which also encompasses the limits of knowing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a telling panel, Kurzweil asks her father why he originally saved Fritz’s papers, whether he had intended on reviving him via an AI avatar all along. He responds that he simply viewed them as precious. “We are patterns of information: our skills, our personalities,” Ray explains. “You could see that negatively, like we’re \u003cem>just\u003c/em> information. Or you could see it positively, like, information is spiritual.”\u003c/p>\n\u003cp>The book is drawn entirely in black, white and gray, a preference Kurzweil says stems from her belief that “comics work with projection, and sometimes the less you give people, the more they can imagine.” \u003c/p>\n\u003cp>“Paradoxically,” she explains, “having a grayscale helps people view the world with more color in their minds.” \u003c/p>\n\u003cp>\u003cem>Artificial\u003c/em> is a product of rapt observation. This is clear in the thoroughness of each panel’s details. Kurzweil meticulously reproduces the books on her desk (Sherry Turkle’s \u003cem>Alone Together\u003c/em>, Alison Bechdel’s \u003cem>Fun Home\u003c/em>), the wide-set half-cursive of her grandfather’s handwritten letters and extracts from her husband’s copy of Plato’s Symposium, with both the text and his enthusiastic underlining and doodling reproduced. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914459","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cities too are rendered in personalizing detail. San Francisco, where her father also lives part time, is brought to life via the interior of the Powell Street BART station, the exteriors of Philz Coffee and Aardvark Books, the skyline seen from Dolores Park. Her illustrations suggest a worldview that sees life as information. \u003c/p>\n\u003cp>Like her father, Kurzweil thinks information is precious, but details also serve an objective. “I wanted to have these three different styles to code for these three different kinds of memory that I’m working with in the book,” she explains of the choice. “The realistic style codes for documents that I really have in my possession.” Fritz’s patient slips, correspondence with various colleges when he was seeking employment in New York and press clippings reviewing his symphony conducting — she reproduces all with rigorous precision, down to the font and faded stamps. \u003c/p>\n\u003cp>Kurzweil uses a “cartoonish grayscale” (glimpsed in \u003ca href=\"https://www.newyorker.com/contributors/amy-kurzweil\">her work for \u003cem>The New Yorker\u003c/em>\u003c/a>) when depicting her own memories. “That style is more minimal because I’m allowing the reader to imbue it with their own imagination, allowing them to animate the figures in their own mind and signaling that memory includes a lot of gaps,” she explains.\u003c/p>\n\u003cp>Kurzweil describes her third style as “high contrast black and white,” which is used to depict events and people she did not directly witness — like her grandfather’s time in Vienna, pieced together through his journals and marriage and academic records. The drawings are fabricated amalgams of real places and an imagined life. Conversations with a future, more seamless chatbot get the same treatment.\u003c/p>\n\u003cp>Each of the styles performs a taxonomic function, but the care of separating them, of acknowledging that “memory is more art than science,” as she writes, reveals something else. Kurzweil’s attentiveness is an act of devotion. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934119,arts_13928253","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Artificial\u003c/em> is an art book about AI arriving at a time when \u003ca href=\"https://www.kqed.org/arts/13928253/ai-art-artificial-intelligence-student-artists-midjourney\">the two fields are in intense conflict\u003c/a>. Kurzweil admits AI is “a huge topic.” Some of its biggest detractors — artists and authors furious that their work is being used to train AI without their consent — are frustrated with the implications for their professions. \u003c/p>\n\u003cp>“The problems in AI are not just about AI,” Kurzweil notes, “They have to do with the way AI is being used to make money for some people and not for others. I certainly have a lot of critiques of that model for AI, but I don’t think that AI is one thing.” \u003c/p>\n\u003cp>Artificial invites readers to view AI as a potential bridge. “My book engages with an instance of AI that is more personal and intimate,” she says. It is her hope “that the book can be a positive instance of complex, interesting, inspiring technology that’s used in a direction that’s more human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Artificial: A Love Story’ is out Oct. 17, 2023. Amy Kurzweil will be on a \u003ca href=\"https://www.eventbrite.com/e/picturing-lives-new-graphic-memoirs-tickets-709752578067\">LitQuake panel\u003c/a> with Fred Noland, Thien Pham and Julia Wertz on Saturday, Oct. 14 at 12 p.m. at the San Francisco Public Library’s Koret Auditorium. Booksmith hosts \u003ca href=\"https://www.booksmith.com/event/amy-kurzweil\">a launch event\u003c/a> on Tuesday, Oct. 17 at 7 p.m. with Kurzweil and Daniel Gumbiner.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935873/amy-kurzweil-artificial-graphic-memoir-ai","authors":["byline_arts_13935873"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_70"],"tags":["arts_928","arts_1942","arts_10278","arts_769","arts_1935","arts_585"],"featImg":"arts_13936180","label":"arts_140"},"arts_13933289":{"type":"posts","id":"arts_13933289","meta":{"index":"posts_1591205157","site":"arts","id":"13933289","score":null,"sort":[1692218586000]},"guestAuthors":[],"slug":"blue-beetle-dc-comics-xolo-mariduena-hispanic-superhero","title":"‘Blue Beetle’ is More Than a Bug in the Superhero System","publishDate":1692218586,"format":"standard","headTitle":"‘Blue Beetle’ is More Than a Bug in the Superhero System | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Franz Kafka never realized how close he came to kickstarting a superhero franchise.\u003c/p>\n\u003cp>Ever since Gregor Samsa awoke in his bed to find himself transformed into a monstrous dung beetle in \u003cem>The Metamorphosis\u003c/em>, we’ve had spider-men, wasps, ant-men, crime-fighting ticks and mighty mantises — such a super swarm of insectoids that you might be tempted to reach for a fly swatter.\u003c/p>\n\u003cp>[aside postid='arts_13933030']We’re now back to the beetle with the new DC Comics film \u003cem>Blue Beetle\u003c/em>, which opens in theaters Thursday. But what distinguishes \u003cem>Blue Beetle\u003c/em> isn’t its place in the bug brigade but the person doing the metamorphosizing.\u003c/p>\n\u003cp>Jaime Reyes (Xolo Maridueña) is the first Latino superhero in a leading role in a DC film. It’s not just token casting, either. \u003cem>Blue Beetle\u003c/em>, directed by Ángel Manuel Soto and written by Gareth Dunnet-Alcocer, is firmly rooted in the experience of the Reyes clan, a close-knit Mexican-American family scraping by in the shadow of the gleaming Miami-like fictional metropolis of Palmera City.\u003c/p>\n\u003cp>Jaime is their first college graduate — “And last!” cheerfully chimes his sister, Milagro (the very funny, scene-stealing Belissa Escobedo). The parents, Alberto (Damián Alcázar) and Rocio (Elpidia Carrillo) are broke and on the cusp of losing their home to the encroaching, all-powerful Kord Industries. Also living with them are Jaime’s grandmother (Adriana Barraza) and his truck-driving uncle (George Lopez, having a ball).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We used to have the other side of the tracks,” says Milagro. “Now they want that, too.”\u003c/p>\n\u003cp>Despite big post-college ambitions, Jaime is stuck cleaning hotel rooms with his sister. Given what his family has sacrificed for him, he’s saddled with guilt. So after a chance encounter with Jenny Kord (the Brazilian actress Bruna Marquezine), niece of the company’s imperial chief executive Victoria (Susan Sarandon), Jaime jumps at the chance of a job opportunity.\u003c/p>\n\u003cp>He happens to turn up at Kord headquarters just as Jenny is fleeing with Victoria’s prized discovery: a blue metallic scarab from outer space called the Khaji da that she’s using to create a privatized robotic army. It’s admittedly quite a jump from the real estate business, but, well, interest rates are sky high.\u003c/p>\n\u003cp>Before you know it, Jaime, tasked with hiding the beetle by Jenny, is looking down at the thing when it sinks itself onto his face and quickly seeps into his body. Gregor’s initial response to changing into a beetle was simply to turn over (“How about if I sleep a little bit longer and forget all this nonsense”), but Jaime is afforded no such chance. He’s immediately rocketed through the roof and into space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4wxyy8Rcz4k\u003c/p>\n\u003cp>In the broadly sketched but spirited \u003cem>Blue Beetle\u003c/em>, much of what follows is as you’d expect. There’s getting used to the new outfit (and the sentient being that communicates Venom-style within Jaime). A recent past to uncover. The inevitable climactic battle between two hunks of CGI.\u003c/p>\n\u003cp>But \u003cem>Blue Beetle\u003c/em>, the final entry in a now defunct wave of DC films, distinguishes itself in other ways. Jaime’s family is continually along for the ride, making up his supporting cast when the big fight comes. (The grandmother’s younger days as a revolutionary emerge, comically.) Superheroes are ultimately empowerment fantasies, though they’ve often got away from that. \u003cem>Blue Beetle\u003c/em> manages to come closer than most in evoking the thrill of the powerless suddenly handed cosmic strength.\u003c/p>\n\u003cp>[aside postid='arts_13932565']Soto plays it fast and loose, mixing in a little lewdness (“Activate bug fart” is a new addition to the often solemn DC universe) and shades of neon blue and purple along the way. \u003cem>Blue Beetle\u003c/em> doesn’t have much originality going for itself and Maridueña doesn’t make a significant impression. But the film crucially gets that superhero movies don’t need to be self-serious to make a serious point.\u003c/p>\n\u003cp>\u003cem>Blue Beetle\u003c/em>, light, lively and sincere, is a tribute to the tenacity and indomitability of Mexican-American families that have clawed their way into an often inhospitable society. Family members, usually plot points of some animating trauma in superhero movies, are here a central part of the action. (Lopez gets countless cracks in, and most of them land.)\u003c/p>\n\u003cp>It’s a time of self-inquiry for the superhero movie after hints of a new downward trend (despite some notable exceptions like the blistering \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>, with its Afro-Latino protagonist ). \u003cem>Blue Beetle\u003c/em>, which had at one point been destined to go straight to streaming, falls in the middle of this new uncertain terrain. After a string of disappointments, future DC installments will take the comic book franchise in new directions. So it remains to be seen if \u003cem>Blue Beetle\u003c/em> can be much more than a bug in the system amid larger industry shifts.\u003c/p>\n\u003cp>But I’d wager there will be plenty of moviegoers — especially young Hispanic ones not accustomed to seeing reflections of themselves in Hollywood comic book spectacles — who’ll grin all the way through the breezy \u003cem>Blue Beetle\u003c/em>. If even a low-stakes, fairly derivative superhero movie like this can charm thanks to its warm Hispanic perspective and winning supporting cast, there’s plenty of hope yet for the genre — bugs and all.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blue Beetle’ is released nationwide on Friday, Aug. 18, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new DC movie is light, lively and sincere, a tribute to the tenacity and indomitability of Mexican American families.","status":"publish","parent":0,"modified":1705005142,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":952},"headData":{"title":"‘Blue Beetle’ is More Than a Bug in the Superhero System | KQED","description":"The new DC movie is light, lively and sincere, a tribute to the tenacity and indomitability of Mexican American families.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13933289/blue-beetle-dc-comics-xolo-mariduena-hispanic-superhero","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Franz Kafka never realized how close he came to kickstarting a superhero franchise.\u003c/p>\n\u003cp>Ever since Gregor Samsa awoke in his bed to find himself transformed into a monstrous dung beetle in \u003cem>The Metamorphosis\u003c/em>, we’ve had spider-men, wasps, ant-men, crime-fighting ticks and mighty mantises — such a super swarm of insectoids that you might be tempted to reach for a fly swatter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933030","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We’re now back to the beetle with the new DC Comics film \u003cem>Blue Beetle\u003c/em>, which opens in theaters Thursday. But what distinguishes \u003cem>Blue Beetle\u003c/em> isn’t its place in the bug brigade but the person doing the metamorphosizing.\u003c/p>\n\u003cp>Jaime Reyes (Xolo Maridueña) is the first Latino superhero in a leading role in a DC film. It’s not just token casting, either. \u003cem>Blue Beetle\u003c/em>, directed by Ángel Manuel Soto and written by Gareth Dunnet-Alcocer, is firmly rooted in the experience of the Reyes clan, a close-knit Mexican-American family scraping by in the shadow of the gleaming Miami-like fictional metropolis of Palmera City.\u003c/p>\n\u003cp>Jaime is their first college graduate — “And last!” cheerfully chimes his sister, Milagro (the very funny, scene-stealing Belissa Escobedo). The parents, Alberto (Damián Alcázar) and Rocio (Elpidia Carrillo) are broke and on the cusp of losing their home to the encroaching, all-powerful Kord Industries. Also living with them are Jaime’s grandmother (Adriana Barraza) and his truck-driving uncle (George Lopez, having a ball).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We used to have the other side of the tracks,” says Milagro. “Now they want that, too.”\u003c/p>\n\u003cp>Despite big post-college ambitions, Jaime is stuck cleaning hotel rooms with his sister. Given what his family has sacrificed for him, he’s saddled with guilt. So after a chance encounter with Jenny Kord (the Brazilian actress Bruna Marquezine), niece of the company’s imperial chief executive Victoria (Susan Sarandon), Jaime jumps at the chance of a job opportunity.\u003c/p>\n\u003cp>He happens to turn up at Kord headquarters just as Jenny is fleeing with Victoria’s prized discovery: a blue metallic scarab from outer space called the Khaji da that she’s using to create a privatized robotic army. It’s admittedly quite a jump from the real estate business, but, well, interest rates are sky high.\u003c/p>\n\u003cp>Before you know it, Jaime, tasked with hiding the beetle by Jenny, is looking down at the thing when it sinks itself onto his face and quickly seeps into his body. Gregor’s initial response to changing into a beetle was simply to turn over (“How about if I sleep a little bit longer and forget all this nonsense”), but Jaime is afforded no such chance. He’s immediately rocketed through the roof and into space.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4wxyy8Rcz4k'\n title='//www.youtube.com/embed/4wxyy8Rcz4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the broadly sketched but spirited \u003cem>Blue Beetle\u003c/em>, much of what follows is as you’d expect. There’s getting used to the new outfit (and the sentient being that communicates Venom-style within Jaime). A recent past to uncover. The inevitable climactic battle between two hunks of CGI.\u003c/p>\n\u003cp>But \u003cem>Blue Beetle\u003c/em>, the final entry in a now defunct wave of DC films, distinguishes itself in other ways. Jaime’s family is continually along for the ride, making up his supporting cast when the big fight comes. (The grandmother’s younger days as a revolutionary emerge, comically.) Superheroes are ultimately empowerment fantasies, though they’ve often got away from that. \u003cem>Blue Beetle\u003c/em> manages to come closer than most in evoking the thrill of the powerless suddenly handed cosmic strength.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932565","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Soto plays it fast and loose, mixing in a little lewdness (“Activate bug fart” is a new addition to the often solemn DC universe) and shades of neon blue and purple along the way. \u003cem>Blue Beetle\u003c/em> doesn’t have much originality going for itself and Maridueña doesn’t make a significant impression. But the film crucially gets that superhero movies don’t need to be self-serious to make a serious point.\u003c/p>\n\u003cp>\u003cem>Blue Beetle\u003c/em>, light, lively and sincere, is a tribute to the tenacity and indomitability of Mexican-American families that have clawed their way into an often inhospitable society. Family members, usually plot points of some animating trauma in superhero movies, are here a central part of the action. (Lopez gets countless cracks in, and most of them land.)\u003c/p>\n\u003cp>It’s a time of self-inquiry for the superhero movie after hints of a new downward trend (despite some notable exceptions like the blistering \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>, with its Afro-Latino protagonist ). \u003cem>Blue Beetle\u003c/em>, which had at one point been destined to go straight to streaming, falls in the middle of this new uncertain terrain. After a string of disappointments, future DC installments will take the comic book franchise in new directions. So it remains to be seen if \u003cem>Blue Beetle\u003c/em> can be much more than a bug in the system amid larger industry shifts.\u003c/p>\n\u003cp>But I’d wager there will be plenty of moviegoers — especially young Hispanic ones not accustomed to seeing reflections of themselves in Hollywood comic book spectacles — who’ll grin all the way through the breezy \u003cem>Blue Beetle\u003c/em>. If even a low-stakes, fairly derivative superhero movie like this can charm thanks to its warm Hispanic perspective and winning supporting cast, there’s plenty of hope yet for the genre — bugs and all.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blue Beetle’ is released nationwide on Friday, Aug. 18, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933289/blue-beetle-dc-comics-xolo-mariduena-hispanic-superhero","authors":["byline_arts_13933289"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_1942","arts_877","arts_14471","arts_585"],"featImg":"arts_13933302","label":"arts_140"},"arts_13932848":{"type":"posts","id":"arts_13932848","meta":{"index":"posts_1591205157","site":"arts","id":"13932848","score":null,"sort":[1691605784000]},"guestAuthors":[],"slug":"jamie-lee-curtis-graphic-novel-shows-how-were-blowing-it-with-mother-nature","title":"Jamie Lee Curtis’ Graphic Novel Shows How ‘We’re Blowing It With Mother Nature’","publishDate":1691605784,"format":"aside","headTitle":"Jamie Lee Curtis’ Graphic Novel Shows How ‘We’re Blowing It With Mother Nature’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13932849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg\" alt=\"A comic book cover featuring an illustration of a teenage girl wearing jeans, green t-shirt and flannel shirt around her waist. Her eyes are glowing yellow and dark clouds and lightning swirl around her.\" width=\"800\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1920x2913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-scaled.jpg 1687w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother Nature.’ \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oscar-winning actor Jamie Lee Curtis has made a separate career for herself as an author. Her bestselling books for children encourage them to be silly, be patient and like themselves.\u003c/p>\n\u003cp>[aside postid='arts_13930279']But her new graphic novel, \u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">\u003cem>Mother Nature\u003c/em>\u003c/a>, is more in line with the horror movies for which she’s known.\u003c/p>\n\u003cp>The scream queen co-wrote an “eco-horror” screenplay, which \u003cem>New Yorker\u003c/em> illustrator \u003ca href=\"https://www.chroniclebooks.com/products/penny\">Karl Stevens\u003c/a> adapted into a graphic novel for Titan Comics.\u003c/p>\n\u003cp>“I went through a lot of cadmium red,” he told fans during a panel at the recent Comic-Con in San Diego.\u003c/p>\n\u003cp>“Because there’s a lot of blood,” added Curtis. “There will be blood in this book.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story is set in New Mexico, where an energy corporation is fracking under land leased from a Native American woman. Her daughter Nova tries to sabotage the project and is struck by lightning. Nova then becomes the spirit of Mother Nature, who takes revenge for being destroyed.\u003c/p>\n\u003cp>“I had an idea of every gruesome way that Mother Nature could kill people,” Curtis said. “You know, black ice, storms, tornadoes, burning them up with extreme heat. Hailstones to the head. What a way to go.” It isn’t nice to mess with Mother Nature; In one key scene, an earthquake shakes loose the head of an oil drill, killing Nova’s father, who worked for the energy company.\u003c/p>\n\u003cfigure id=\"attachment_13932861\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png\" alt=\"A series of illustrated panels depicting a man slowly walking across an oil field. He glances tentatively over his shoulder at two waiting vehicles. Inside one, a man and a woman wait and watch.\" width=\"790\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-768x1155.png 768w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Mother Nature about to strike… \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curtis says the climate crisis motivated her to write such a story. “The inspiration is terror. The inspiration is fear that we are heading into a very, very dangerous place.”\u003c/p>\n\u003cp>Over the years, Curtis says she’s been involved with the Natural Resources Defense Council, an environmental advocacy group. But she first imagined this story when she was 19, just as she began acting, following the footsteps of her famous Hollywood parents Janet Leigh and Tony Curtis. She says she was influenced by 1970’s disaster movies \u003ca href=\"https://www.youtube.com/watch?v=nyTqrtZFWeQ\">\u003cem>The Towering Inferno\u003c/em>\u003c/a> and \u003ca href=\"https://www.google.com/search?rlz=1C1GCEA_enUS849US849&sxsrf=AB5stBjk2_d47X_mP5O2gq_oqpRt9nTIoA:1691531492111&q=the+poseidon+adventure&tbm=vid&source=lnms&sa=X&sqi=2&ved=2ahUKEwi7qdrthc6AAxWaMlkFHac5CmkQ0pQJegQIDRAB&biw=2732&bih=1250&dpr=0.5#fpstate=ive&vld=cid:bc36fa4d,vid:H_5w-WmSdz0\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13926136']“I was aware of the raping of the land. I was aware of the drilling and the blasting and the stealing of these natural resources. And I just had this idea in my head. I said, ‘I’m going to write a movie about how we’re blowing it with Mother Nature.’ I just knew it,” Curtis told NPR in an interview before the panel.. “It stuck with me so that in 2018, when I made the \u003cem>Halloween\u003c/em> movie and got reinvigorated to the process of making movies, I decided to write a screenplay.”\u003c/p>\n\u003cp>She teamed up with \u003ca href=\"https://www.imdb.com/name/nm4405314/\">Russell Goldman\u003c/a>, who was her assistant on the \u003cem>Halloween\u003c/em> films. She says his great contribution to the screenplay was to make it about women.\u003c/p>\n\u003cp>“Women are cool,” he says.\u003c/p>\n\u003cp>And Curtis agrees. “Women \u003cem>are\u003c/em> cool. You heard it here on NPR.”\u003c/p>\n\u003cp>\u003cem>Mother Nature\u003c/em> centers on two pairs of mothers and daughters. “It’s a story about the decisions that one generation is making in leaving a planet behind for the next,” Goldman says.\u003c/p>\n\u003cfigure id=\"attachment_13932846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg\" alt=\"A white woman with cropped grey hair and silver rimmed glasses stands with two white men. All three hold up a comic book titled 'Mother Nature.' All are half-smiling.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1536x946.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Lee Curtis, Russell Goldman and Karl Stevens — co-creators of the new graphic novel ‘Mother Nature’ — at Comic-Con San Diego. \u003ccite>(Mandalit del Barco/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story’s main mother and daughter are Navajo. Goldman researched the culture, and he collaborated on the script with several Native American consultants, including author and filmmaker Brian Lee Young.\u003c/p>\n\u003cp>Young (who is also the author of a new book, \u003ca href=\"https://brianlyoung.com/books/\">\u003cem>Heroes of the Water Monster\u003c/em>\u003c/a>) says he helped Goldman, Curtis and Stevens incorporate elements of traditional Diné folklore depicting retaliating natural forces.\u003c/p>\n\u003cp>[aside postid='arts_13920759']“This is the first time that I’ve seen the Navajo culture portrayed in a respectful way,” Young says. He says the story also shows “that we have the power to reverse the dangers that climate change enacts on all our communities,” says Young. “I hope everyone gets to read it. It’s a lot of fun, especially as a horror fan.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">Curtis is currently on strike\u003c/a> against the Hollywood studios as a member of the union SAG-AFTRA. But at Comic-Con, Curtis told her enthusiastic fans they might make \u003cem>Mother Nature\u003c/em> into a movie someday.\u003c/p>\n\u003cp>“That would be fun. Maybe I’ll direct it. Maybe I’ll co-direct. Maybe I’ll be in it. Maybe I’ll do all of it,” she said to many cheers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know what? I’m 65 years old this November, and I have no time to waste. None.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jamie+Lee+Curtis%27+graphic+novel+shows+how+%27We%27re+blowing+it+with+Mother+Nature%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"This project was motivated by the climate crisis: “We are heading into a very, very dangerous place,” Curtis says.","status":"publish","parent":0,"modified":1705005173,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":822},"headData":{"title":"‘Mother Nature’ Comic Book Makes Climate Change a Real Horror | KQED","description":"This project was motivated by the climate crisis: “We are heading into a very, very dangerous place,” Curtis says.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Mother Nature’ Comic Book Makes Climate Change a Real Horror %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Mandalit del Barco","nprImageAgency":"Titan Comics","nprStoryId":"1192703489","nprApiLink":"http://api.npr.org/query?id=1192703489&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/08/08/1192703489/jamie-lee-curtis-graphic-novel-mother-nature?ft=nprml&f=1192703489","nprRetrievedStory":"1","nprPubDate":"Wed, 09 Aug 2023 12:54:00 -0400","nprStoryDate":"Tue, 08 Aug 2023 18:51:00 -0400","nprLastModifiedDate":"Wed, 09 Aug 2023 12:54:23 -0400","nprAudio":"https://play.podtrac.com/npr-191676894/edge1.pod.npr.org/anon.npr-mp3/npr/atc/2023/08/20230808_atc_jamie_lee_curtis_graphic_novel_shows_how_were_blowing_it_with_mother_nature.mp3?orgId=1&topicId=1032&d=250&p=2&story=1192703489&awCollectionId=1&awEpisodeId=1192703489&ft=nprml&f=1192703489","nprAudioM3u":"http://api.npr.org/m3u/11192750344-ff1b3a.m3u?orgId=1&topicId=1032&d=250&p=2&story=1192703489&ft=nprml&f=1192703489","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932848/jamie-lee-curtis-graphic-novel-shows-how-were-blowing-it-with-mother-nature","audioUrl":"https://play.podtrac.com/npr-191676894/edge1.pod.npr.org/anon.npr-mp3/npr/atc/2023/08/20230808_atc_jamie_lee_curtis_graphic_novel_shows_how_were_blowing_it_with_mother_nature.mp3?orgId=1&topicId=1032&d=250&p=2&story=1192703489&awCollectionId=1&awEpisodeId=1192703489&ft=nprml&f=1192703489","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13932849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg\" alt=\"A comic book cover featuring an illustration of a teenage girl wearing jeans, green t-shirt and flannel shirt around her waist. Her eyes are glowing yellow and dark clouds and lightning swirl around her.\" width=\"800\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1920x2913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-scaled.jpg 1687w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother Nature.’ \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oscar-winning actor Jamie Lee Curtis has made a separate career for herself as an author. Her bestselling books for children encourage them to be silly, be patient and like themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930279","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But her new graphic novel, \u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">\u003cem>Mother Nature\u003c/em>\u003c/a>, is more in line with the horror movies for which she’s known.\u003c/p>\n\u003cp>The scream queen co-wrote an “eco-horror” screenplay, which \u003cem>New Yorker\u003c/em> illustrator \u003ca href=\"https://www.chroniclebooks.com/products/penny\">Karl Stevens\u003c/a> adapted into a graphic novel for Titan Comics.\u003c/p>\n\u003cp>“I went through a lot of cadmium red,” he told fans during a panel at the recent Comic-Con in San Diego.\u003c/p>\n\u003cp>“Because there’s a lot of blood,” added Curtis. “There will be blood in this book.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story is set in New Mexico, where an energy corporation is fracking under land leased from a Native American woman. Her daughter Nova tries to sabotage the project and is struck by lightning. Nova then becomes the spirit of Mother Nature, who takes revenge for being destroyed.\u003c/p>\n\u003cp>“I had an idea of every gruesome way that Mother Nature could kill people,” Curtis said. “You know, black ice, storms, tornadoes, burning them up with extreme heat. Hailstones to the head. What a way to go.” It isn’t nice to mess with Mother Nature; In one key scene, an earthquake shakes loose the head of an oil drill, killing Nova’s father, who worked for the energy company.\u003c/p>\n\u003cfigure id=\"attachment_13932861\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png\" alt=\"A series of illustrated panels depicting a man slowly walking across an oil field. He glances tentatively over his shoulder at two waiting vehicles. Inside one, a man and a woman wait and watch.\" width=\"790\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-768x1155.png 768w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Mother Nature about to strike… \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curtis says the climate crisis motivated her to write such a story. “The inspiration is terror. The inspiration is fear that we are heading into a very, very dangerous place.”\u003c/p>\n\u003cp>Over the years, Curtis says she’s been involved with the Natural Resources Defense Council, an environmental advocacy group. But she first imagined this story when she was 19, just as she began acting, following the footsteps of her famous Hollywood parents Janet Leigh and Tony Curtis. She says she was influenced by 1970’s disaster movies \u003ca href=\"https://www.youtube.com/watch?v=nyTqrtZFWeQ\">\u003cem>The Towering Inferno\u003c/em>\u003c/a> and \u003ca href=\"https://www.google.com/search?rlz=1C1GCEA_enUS849US849&sxsrf=AB5stBjk2_d47X_mP5O2gq_oqpRt9nTIoA:1691531492111&q=the+poseidon+adventure&tbm=vid&source=lnms&sa=X&sqi=2&ved=2ahUKEwi7qdrthc6AAxWaMlkFHac5CmkQ0pQJegQIDRAB&biw=2732&bih=1250&dpr=0.5#fpstate=ive&vld=cid:bc36fa4d,vid:H_5w-WmSdz0\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926136","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I was aware of the raping of the land. I was aware of the drilling and the blasting and the stealing of these natural resources. And I just had this idea in my head. I said, ‘I’m going to write a movie about how we’re blowing it with Mother Nature.’ I just knew it,” Curtis told NPR in an interview before the panel.. “It stuck with me so that in 2018, when I made the \u003cem>Halloween\u003c/em> movie and got reinvigorated to the process of making movies, I decided to write a screenplay.”\u003c/p>\n\u003cp>She teamed up with \u003ca href=\"https://www.imdb.com/name/nm4405314/\">Russell Goldman\u003c/a>, who was her assistant on the \u003cem>Halloween\u003c/em> films. She says his great contribution to the screenplay was to make it about women.\u003c/p>\n\u003cp>“Women are cool,” he says.\u003c/p>\n\u003cp>And Curtis agrees. “Women \u003cem>are\u003c/em> cool. You heard it here on NPR.”\u003c/p>\n\u003cp>\u003cem>Mother Nature\u003c/em> centers on two pairs of mothers and daughters. “It’s a story about the decisions that one generation is making in leaving a planet behind for the next,” Goldman says.\u003c/p>\n\u003cfigure id=\"attachment_13932846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg\" alt=\"A white woman with cropped grey hair and silver rimmed glasses stands with two white men. All three hold up a comic book titled 'Mother Nature.' All are half-smiling.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1536x946.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Lee Curtis, Russell Goldman and Karl Stevens — co-creators of the new graphic novel ‘Mother Nature’ — at Comic-Con San Diego. \u003ccite>(Mandalit del Barco/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story’s main mother and daughter are Navajo. Goldman researched the culture, and he collaborated on the script with several Native American consultants, including author and filmmaker Brian Lee Young.\u003c/p>\n\u003cp>Young (who is also the author of a new book, \u003ca href=\"https://brianlyoung.com/books/\">\u003cem>Heroes of the Water Monster\u003c/em>\u003c/a>) says he helped Goldman, Curtis and Stevens incorporate elements of traditional Diné folklore depicting retaliating natural forces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920759","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“This is the first time that I’ve seen the Navajo culture portrayed in a respectful way,” Young says. He says the story also shows “that we have the power to reverse the dangers that climate change enacts on all our communities,” says Young. “I hope everyone gets to read it. It’s a lot of fun, especially as a horror fan.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">Curtis is currently on strike\u003c/a> against the Hollywood studios as a member of the union SAG-AFTRA. But at Comic-Con, Curtis told her enthusiastic fans they might make \u003cem>Mother Nature\u003c/em> into a movie someday.\u003c/p>\n\u003cp>“That would be fun. Maybe I’ll direct it. Maybe I’ll co-direct. Maybe I’ll be in it. Maybe I’ll do all of it,” she said to many cheers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know what? I’m 65 years old this November, and I have no time to waste. None.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jamie+Lee+Curtis%27+graphic+novel+shows+how+%27We%27re+blowing+it+with+Mother+Nature%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932848/jamie-lee-curtis-graphic-novel-shows-how-were-blowing-it-with-mother-nature","authors":["byline_arts_13932848"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_74","arts_75"],"tags":["arts_1407","arts_1942","arts_977","arts_6977","arts_7005","arts_11420","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13932860","label":"arts_140"},"arts_13930727":{"type":"posts","id":"arts_13930727","meta":{"index":"posts_1591205157","site":"arts","id":"13930727","score":null,"sort":[1687455136000]},"guestAuthors":[],"slug":"comic-lost-cafes-coffee-shops-the-med-au-coquelet-gaylords-oakland-berkeley","title":"Please, Don’t Forget Me: Cafes We Have Lost","publishDate":1687455136,"format":"aside","headTitle":"Please, Don’t Forget Me: Cafes We Have Lost | KQED","labelTerm":{},"content":"\u003cp>I was born and grew up in the East Bay. We have seen a lot of change in the last ten years. A lot of great new places have opened, but we have also lost so many beloved establishments. What I covet most are the big, spacious cafes where you could sit for hours and work or do nothing — or a little of both. This piece is a love letter to the places that raised me. They haunt me in the best way possible, and I miss them like crazy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1.jpg\" alt=\"Illustration: A man and his young daughter stroll outside of a cafe whose green and white striped facade reads, "Caffe Mediterraneum." This is the lead panel for a comic titled "Please, Don't Forget Me: Cafes We Have Lost," by Briana Loewinsohn\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2.jpg\" alt=\"This panel is dated "1987." Balding father and young daughter order at the cafe counter where colorful flavored syrups are displayed in the back. The store employee is wearing a black t-shirt that says, "The Cure." "A cappuccino please," says the dad. "And a lime Italian soda, please," says the girl.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3.jpg\" alt=\"The father, wearing a green A's shirt, sits at a table in the cafe with his daughter, who looks down at her glass of soda.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4.jpg\" alt=\"The dad is now daydreaming. In a sepia-toned thought bubble he pictures the cafe as it was during the 1960s.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5.jpg\" alt=\"The daydream bubble now takes over the entire panel. Beatnik-looking types lounge in the cafe, smoking and drinking coffee. The dad in his younger days sports a big, poofy hairstyle and wears a vest over his green, 60s-style button-down.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6.jpg\" alt=\"Still in his daydream, the dad walks over to two African American men seated at another table. He daps up the one with a beard wearing a turtleneck. The other, in glasses, holds a cigarette over an ashtray.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7.jpg\" alt=\"Still in the daydream, the dad now sits next to an attractive, smiling young woman holding a cigarette between her fingers. The two appear to be flirting.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8.jpg\" alt=\"Back in the present day, the dad stares off into space. Both his coffee cup and the soda glass are now empty. Just outside the panel, the daughter says, "Dad?" "Dad, our drinks are empty."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit.jpg\" alt=\"Roused from his daydream, the dad says, "Oh. Well, let's hit the road, girl." The two are still seated in the cafe. Above them, a plaque reads, "Caffe Mediteraneum, 1956–2022"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note.jpg\" alt=\"A handwritten note reads, "The Med was a place for poets and revolutionaries. Later it was a place for college students and ex-revolutionaries. My dad loved it no matter what. He loved it in the '60s, talking about People's Park with Bobby Seale. He loved it when he dragged us to see how Telegraph Avenue fared after the Rodney King riots. He loved it because it's what he knew. Berkeley native and divorcee, why would he go anywhere else? He took us because where else could we go and just BE for a minute. Where else can you take a kid if you have them all day one Saturday a month? The Ashby Flea Market and the Med. The single dad special. I thought those murals would never ever crumble. We all did."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930798\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title.jpg\" alt=\"Title panel for a comic shows a glass of foam-topped hot chocolate and a camcorder on a table against a brick wall. The text reads, "Please, Don't Forget Me: Cafes We Have Lost" and underneath that, "Au Coquelet".\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1.jpg\" alt=\"In this illustrated comic panel (labeled "1997"), we seen two teenage girls — a brunette and a blonde — through the viewfinder of a camcorder. The two girls are drawing in their sketchbooks. "Are you recording?" asks the brown-haired girl. "Yes. Tell us who the real Briana is," says the person holding the camcorder.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2.jpg\" alt=\"Still framed in the viewfinder, Briana says, "Okay. Well, Jacob — oh dang, it's...Ponytail Guy!"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3.jpg\" alt=\"A young man with a blonde ponytail and a keychain attached to his gray pants walks past the three friends' table holding a tray. Briana (in a red shirt) covers her mouth and nudges her friend.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4.jpg\" alt=\"The two girls turn their attention back to their sketchpads. The camcorder guy — wearing glasses and a brown plaid shirt — says, "Hot chocolate time?" Briana says, "And avocado cheese sandwich?" Blonde-haired girl says, "I got five on it."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5.jpg\" alt=\"Briana peers at the cafe's counter display of baked goods: biscotti in a glass jar, a linzer torte with a wedge cut out of it, the last two remaining slices of a cheesecake.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6.jpg\" alt=\"Ponytail guy and a curly red-haired employee look on from behind the counter as Briana walks away with her sandwich and hot chocolate. "Thanks!" she says. On the counter are a few scattered coins and crumpled bills. \" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7.jpg\" alt=\"Seen through the camcorder viewfinder again, Briana walks back to her table. Off screen, Jacob says, "Watch Briana drop all this stuff!" "I hate you," Briana says in response.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8.jpg\" alt=\"A panned out view from outside the window shows the three friends laughing and chattering away. The awning above reads, "SOUP SALADS OMEL". Underneath, a plaque reads, "Au Coquelet, 1976–2020"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note.jpg\" alt=\"A handwritten note reads, "We ended up at Au Coquelet pretty regularly because it was only a couple blocks from: Mod Lang, Comic Relief, 2am Chinese (I never learned the real name of that place), Paper Heaven, and the UC Theater. It had a lot of tables filled with people who seemed like adults. Being adults. Having adult conversations. Au Coquelet had items that felt fancy like Linzer Torte and steamed almond milk. We drifted in, settled down. Drew, made fun of each other. Made fun of other patrons. Made fun of people playing Dungeons and Dragons. Played Dungeons and Dragons. We escaped our homes, planned for life after high school. We made each other laugh. I'll miss those nights without end."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title.jpg\" alt=\"Title panel for a comic shows a green sketchpad, a pencil and a white disposable coffee cup on a round table. The text reads, "Please, Don't Forget Me: Cafes We Have Lost" and underneath that, "Gaylord's Caffe and Espresso".\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1.jpg\" alt=\"In a comics panel labeled "2004," a woman wearing a similar red shirt — but older now, with shorter hair — walks into a coffee shop with a worried expression, holding a sketchpad. An older Black gentleman with a white beard sits on a bench near the entrance reading a newspaper. The lettering on the window, seen in reverse, is cut off but the visible portion reads, "GAYL...CAFFE...BREWING"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2.jpg\" alt=\"The woman — Briana as an adult — sits at a table and starts sketching. The older Black gentleman gets up to return his empty coffee cup.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3.jpg\" alt=\"2005: Now wearing a striped tank top, Briana sits in the same coffee shop but is now joined by a friend — an Asian guy wearing a "Math Olympiad" t-shirt. The two are laughing and talking as they draw. The same older Black gentleman from the previous panel sits on his bench reading the paper.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4.jpg\" alt=\"2006: The two friends are still drawing in the same coffee shop. The friend, now in a black T-shirt, waves at a man in an A's cap and orange jacket who is waving back from outside the window. Briana, now in a green shirt, says, "Bro. That's him. Don't say anything!"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930772\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5.jpg\" alt=\"2014: The two friends are drawing in the same coffee shop, now joined by a toddler who climbs onto a chair to reach a Ms. Pac-Man arcade console. "Careful, Janie Bear," says the friend, now wearing glasses, jeans, flip flops, and a different black t-shirt. The toddler, who has short pigtails, says, "Uncle Thien! It's exciiiting." Briana, busy drawing, doesn't look up as she says, "She's fine, bro." \" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6.jpg\" alt=\"2016: Briana stands on a stool to hang up a poster that reads, "Shirts + Prints by Thien and Briana" on the wall, probably of the same coffee shop. Holding a roll of masking tape, Thien (the friend) helps from below. A t-shirt pinned to a clothesline above depicts a man holding a bowling ball and reads, "Picture Me Bowling."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7.jpg\" alt=\"2017: Two kids — the younger one with red hair and freckles — sit in front of what appear to be cups of hot chocolate topped with giant mounds of whipped cream and sprinkles. The older sister says, "Sonny! It might be hot." Briana, older now with glasses and her hair in a bun, sits at the same table across from Thien, still drawing. "He's fine, Janie," she says.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930769\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8.jpg\" alt=\"Briana in glasses and overall shorts stands outside of the coffee shop with a sad look on her face. The sign on the door says, "CLOSED," and the window lettering now clearly reads, "Gaylord's Caffe Espresso, brewing since 1976!" A plaque overhead reads, "Gaylord's Caffe Espresso, 1976–2020."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note.jpg\" alt=\"A handwritten note reads, "I probably went to Gaylord's when I was little, but I don't remember it. When I moved back to the Bay in 2004 I had no one to draw with and nowhere to draw. Gaylord's was the spot. It had good hours and nice people. At first I drew alone, then I drew with my new bestie. We made comics and art. We lived our 20s and 30s at that cafe. I had kids, we drew, we hung our art and took it down, we were pals with the baristas and the regulars, we drew some more. And then in the early pandemic, it was closed. Without warning. We tried to buy the Ms. Pac-Man machine, but that never panned out."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/brianabreaks/\">Briana Loewinsohn\u003c/a> is an American cartoonist. These days she teaches high school art and draws comic books. She is the author of the acclaimed graphic memoir \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13926136/poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood\">EPHEMERA\u003c/a>\u003cem>. She lives in Oakland with her husband, daughter and son. If she doesn’t text you back, she is probably gardening.\u003c/em>\u003c/p>\n","blocks":[],"excerpt":"A love letter to the East Bay coffee shops that raised me.","status":"publish","parent":0,"modified":1705005353,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":138},"headData":{"title":"Lost Coffee Shops of the East Bay: The Med, Gaylord's, Au Coquelet | KQED","description":"A love letter to the East Bay coffee shops that raised me.","ogTitle":"Please, Don't Forget Me: Cafes We Have Lost","ogDescription":"","ogImgId":"","twTitle":"Please, Don't Forget Me: Cafes We Have Lost","twDescription":"","twImgId":"","socialTitle":"Lost Coffee Shops of the East Bay: The Med, Gaylord's, Au Coquelet %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"/food/","sticky":false,"nprByline":"Briana Loewinsohn","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13930727/comic-lost-cafes-coffee-shops-the-med-au-coquelet-gaylords-oakland-berkeley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was born and grew up in the East Bay. We have seen a lot of change in the last ten years. A lot of great new places have opened, but we have also lost so many beloved establishments. What I covet most are the big, spacious cafes where you could sit for hours and work or do nothing — or a little of both. This piece is a love letter to the places that raised me. They haunt me in the best way possible, and I miss them like crazy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1.jpg\" alt=\"Illustration: A man and his young daughter stroll outside of a cafe whose green and white striped facade reads, "Caffe Mediterraneum." This is the lead panel for a comic titled "Please, Don't Forget Me: Cafes We Have Lost," by Briana Loewinsohn\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2.jpg\" alt=\"This panel is dated "1987." Balding father and young daughter order at the cafe counter where colorful flavored syrups are displayed in the back. The store employee is wearing a black t-shirt that says, "The Cure." "A cappuccino please," says the dad. "And a lime Italian soda, please," says the girl.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3.jpg\" alt=\"The father, wearing a green A's shirt, sits at a table in the cafe with his daughter, who looks down at her glass of soda.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4.jpg\" alt=\"The dad is now daydreaming. In a sepia-toned thought bubble he pictures the cafe as it was during the 1960s.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5.jpg\" alt=\"The daydream bubble now takes over the entire panel. Beatnik-looking types lounge in the cafe, smoking and drinking coffee. The dad in his younger days sports a big, poofy hairstyle and wears a vest over his green, 60s-style button-down.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_5-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6.jpg\" alt=\"Still in his daydream, the dad walks over to two African American men seated at another table. He daps up the one with a beard wearing a turtleneck. The other, in glasses, holds a cigarette over an ashtray.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_6-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7.jpg\" alt=\"Still in the daydream, the dad now sits next to an attractive, smiling young woman holding a cigarette between her fingers. The two appear to be flirting.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8.jpg\" alt=\"Back in the present day, the dad stares off into space. Both his coffee cup and the soda glass are now empty. Just outside the panel, the daughter says, "Dad?" "Dad, our drinks are empty."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_8-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit.jpg\" alt=\"Roused from his daydream, the dad says, "Oh. Well, let's hit the road, girl." The two are still seated in the cafe. Above them, a plaque reads, "Caffe Mediteraneum, 1956–2022"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_9-edit-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note.jpg\" alt=\"A handwritten note reads, "The Med was a place for poets and revolutionaries. Later it was a place for college students and ex-revolutionaries. My dad loved it no matter what. He loved it in the '60s, talking about People's Park with Bobby Seale. He loved it when he dragged us to see how Telegraph Avenue fared after the Rodney King riots. He loved it because it's what he knew. Berkeley native and divorcee, why would he go anywhere else? He took us because where else could we go and just BE for a minute. Where else can you take a kid if you have them all day one Saturday a month? The Ashby Flea Market and the Med. The single dad special. I thought those murals would never ever crumble. We all did."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Med_10_Note-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930798\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title.jpg\" alt=\"Title panel for a comic shows a glass of foam-topped hot chocolate and a camcorder on a table against a brick wall. The text reads, "Please, Don't Forget Me: Cafes We Have Lost" and underneath that, "Au Coquelet".\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_Title-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1.jpg\" alt=\"In this illustrated comic panel (labeled "1997"), we seen two teenage girls — a brunette and a blonde — through the viewfinder of a camcorder. The two girls are drawing in their sketchbooks. "Are you recording?" asks the brown-haired girl. "Yes. Tell us who the real Briana is," says the person holding the camcorder.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2.jpg\" alt=\"Still framed in the viewfinder, Briana says, "Okay. Well, Jacob — oh dang, it's...Ponytail Guy!"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3.jpg\" alt=\"A young man with a blonde ponytail and a keychain attached to his gray pants walks past the three friends' table holding a tray. Briana (in a red shirt) covers her mouth and nudges her friend.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4.jpg\" alt=\"The two girls turn their attention back to their sketchpads. The camcorder guy — wearing glasses and a brown plaid shirt — says, "Hot chocolate time?" Briana says, "And avocado cheese sandwich?" Blonde-haired girl says, "I got five on it."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5.jpg\" alt=\"Briana peers at the cafe's counter display of baked goods: biscotti in a glass jar, a linzer torte with a wedge cut out of it, the last two remaining slices of a cheesecake.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_5-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6.jpg\" alt=\"Ponytail guy and a curly red-haired employee look on from behind the counter as Briana walks away with her sandwich and hot chocolate. "Thanks!" she says. On the counter are a few scattered coins and crumpled bills. \" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_6-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7.jpg\" alt=\"Seen through the camcorder viewfinder again, Briana walks back to her table. Off screen, Jacob says, "Watch Briana drop all this stuff!" "I hate you," Briana says in response.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8.jpg\" alt=\"A panned out view from outside the window shows the three friends laughing and chattering away. The awning above reads, "SOUP SALADS OMEL". Underneath, a plaque reads, "Au Coquelet, 1976–2020"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_8-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note.jpg\" alt=\"A handwritten note reads, "We ended up at Au Coquelet pretty regularly because it was only a couple blocks from: Mod Lang, Comic Relief, 2am Chinese (I never learned the real name of that place), Paper Heaven, and the UC Theater. It had a lot of tables filled with people who seemed like adults. Being adults. Having adult conversations. Au Coquelet had items that felt fancy like Linzer Torte and steamed almond milk. We drifted in, settled down. Drew, made fun of each other. Made fun of other patrons. Made fun of people playing Dungeons and Dragons. Played Dungeons and Dragons. We escaped our homes, planned for life after high school. We made each other laugh. I'll miss those nights without end."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Au_Coquelet_9_Note-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title.jpg\" alt=\"Title panel for a comic shows a green sketchpad, a pencil and a white disposable coffee cup on a round table. The text reads, "Please, Don't Forget Me: Cafes We Have Lost" and underneath that, "Gaylord's Caffe and Espresso".\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_Title-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1.jpg\" alt=\"In a comics panel labeled "2004," a woman wearing a similar red shirt — but older now, with shorter hair — walks into a coffee shop with a worried expression, holding a sketchpad. An older Black gentleman with a white beard sits on a bench near the entrance reading a newspaper. The lettering on the window, seen in reverse, is cut off but the visible portion reads, "GAYL...CAFFE...BREWING"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2.jpg\" alt=\"The woman — Briana as an adult — sits at a table and starts sketching. The older Black gentleman gets up to return his empty coffee cup.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3.jpg\" alt=\"2005: Now wearing a striped tank top, Briana sits in the same coffee shop but is now joined by a friend — an Asian guy wearing a "Math Olympiad" t-shirt. The two are laughing and talking as they draw. The same older Black gentleman from the previous panel sits on his bench reading the paper.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_3-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4.jpg\" alt=\"2006: The two friends are still drawing in the same coffee shop. The friend, now in a black T-shirt, waves at a man in an A's cap and orange jacket who is waving back from outside the window. Briana, now in a green shirt, says, "Bro. That's him. Don't say anything!"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930772\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5.jpg\" alt=\"2014: The two friends are drawing in the same coffee shop, now joined by a toddler who climbs onto a chair to reach a Ms. Pac-Man arcade console. "Careful, Janie Bear," says the friend, now wearing glasses, jeans, flip flops, and a different black t-shirt. The toddler, who has short pigtails, says, "Uncle Thien! It's exciiiting." Briana, busy drawing, doesn't look up as she says, "She's fine, bro." \" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_5-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6.jpg\" alt=\"2016: Briana stands on a stool to hang up a poster that reads, "Shirts + Prints by Thien and Briana" on the wall, probably of the same coffee shop. Holding a roll of masking tape, Thien (the friend) helps from below. A t-shirt pinned to a clothesline above depicts a man holding a bowling ball and reads, "Picture Me Bowling."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_6-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7.jpg\" alt=\"2017: Two kids — the younger one with red hair and freckles — sit in front of what appear to be cups of hot chocolate topped with giant mounds of whipped cream and sprinkles. The older sister says, "Sonny! It might be hot." Briana, older now with glasses and her hair in a bun, sits at the same table across from Thien, still drawing. "He's fine, Janie," she says.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_7-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930769\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8.jpg\" alt=\"Briana in glasses and overall shorts stands outside of the coffee shop with a sad look on her face. The sign on the door says, "CLOSED," and the window lettering now clearly reads, "Gaylord's Caffe Espresso, brewing since 1976!" A plaque overhead reads, "Gaylord's Caffe Espresso, 1976–2020."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_8-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note.jpg\" alt=\"A handwritten note reads, "I probably went to Gaylord's when I was little, but I don't remember it. When I moved back to the Bay in 2004 I had no one to draw with and nowhere to draw. Gaylord's was the spot. It had good hours and nice people. At first I drew alone, then I drew with my new bestie. We made comics and art. We lived our 20s and 30s at that cafe. I had kids, we drew, we hung our art and took it down, we were pals with the baristas and the regulars, we drew some more. And then in the early pandemic, it was closed. Without warning. We tried to buy the Ms. Pac-Man machine, but that never panned out."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/CafesWeHaveLost_BL_Gaylord_s_9_Note-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/brianabreaks/\">Briana Loewinsohn\u003c/a> is an American cartoonist. These days she teaches high school art and draws comic books. She is the author of the acclaimed graphic memoir \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13926136/poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood\">EPHEMERA\u003c/a>\u003cem>. She lives in Oakland with her husband, daughter and son. If she doesn’t text you back, she is probably gardening.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930727/comic-lost-cafes-coffee-shops-the-med-au-coquelet-gaylords-oakland-berkeley","authors":["byline_arts_13930727"],"categories":["arts_1","arts_12276"],"tags":["arts_1270","arts_19985","arts_20950","arts_1942","arts_10278","arts_10629","arts_1143"],"featImg":"arts_13930737","label":"source_arts_13930727"},"arts_13928562":{"type":"posts","id":"arts_13928562","meta":{"index":"posts_1591205157","site":"arts","id":"13928562","score":null,"sort":[1683068394000]},"guestAuthors":[],"slug":"mission-art-and-comic-expo-chicano-latinx-artists","title":"At the Mission Art and Comic Expo, ‘Hella Chicano Artists’ Rep a Local Scene","publishDate":1683068394,"format":"standard","headTitle":"At the Mission Art and Comic Expo, ‘Hella Chicano Artists’ Rep a Local Scene | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Growing up in Sonoma County during the 1990s, Oakland artist \u003ca href=\"https://www.instagram.com/sodapaints/\">Alex Sodari\u003c/a> often saved up to buy Dark Horse comics at the grocery store and make the trek down to San Francisco for comic conventions. “I really would not be an artist if it weren’t for comic books,” says Sodari, who went on to study illustration at California College of the Arts. But as they moved from enthusiast to creator, they noticed a lack of Latinx and Chicano artists in the mainstream comics scene. \u003c/p>\n\u003cp>“Who are the comics artists that are Latino that are even out there?” says Sodari. “You can count them on one hand, and then it’s like ‘take it or leave it,’ you know? If you don’t like the \u003ca href=\"https://www.fantagraphics.com/collections/love-and-rockets\">Hernandez brothers\u003c/a>, then who else do you really have to read?” \u003c/p>\n\u003cp>Yearning to reconnect with his Mexican heritage and empower local queer and BIPOC zine and comics creators, Sodari founded the \u003ca href=\"https://www.instagram.com/missionartandcomicexpo/\">Mission Art and Comic Expo\u003c/a> (MACE) in 2019 alongside friend and fellow illustrator Anthony James Harmer. On May 7, MACE returns with a lineup of nearly 50 confirmed exhibiting artists at the \u003ca href=\"https://missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13928575\" class=\"wp-caption aligncenter\" style=\"max-width: 1638px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right.jpg\" alt=\"Smiling person with long dark hair, bolo tie in front of table of zines and buttons, two people in background\" width=\"1638\" height=\"1638\" class=\"size-full wp-image-13928575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-1536x1536.jpg 1536w\" sizes=\"(max-width: 1638px) 100vw, 1638px\">\u003cfigcaption class=\"wp-caption-text\">MACE co-founders Alex Sodari (center) and Anthony James Harmer (right) at the 2019 event. \u003ccite>(Courtesy MACE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A newer addition to the Bay Area indie comics sphere, MACE is inspired by longstanding events like SF Zine Fest and the East Bay Alternative Book and Zine Fest, which have drawn in hungry crowds of art lovers since their respective foundings in 2001 and 2010. When developing MACE, Sodari wanted to create an event that retained the DIY, punk spirit of these zine fests while also highlighting Latinx and Chicano artists in the Mission who may be struggling to put their art into the world and sustain their creative endeavors.\u003c/p>\n\u003cp>“At this point where gentrification is really hitting the Mission hard, [with] a lot of artists having to move out of San Francisco [and] being displaced, we felt like we need to do the event to show that artists still reside in the Mission, and that this is still a place for Chicano art to flourish, despite the economic challenges,” says Sodari. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the first expo, the exhibition hall bustled with the excited chatter of artists and attendees discussing their love for comics. People jumped from table to table, leaving with handfuls of new zines and artwork. Older local Mission residents wandered in, curious, as they discovered pieces that held remnants of a shared home and language. This sense of intergenerational nostalgia and understanding formed a pillar for the expo as it continues to close gaps between community members of different ages and backgrounds. \u003c/p>\n\u003cfigure id=\"attachment_13928576\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-scaled.jpg\" alt=\"Table covered in zines and prints in front of wall with artwork and event name\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13928576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A display at the 2021 Mission Art and Comic Expo. \u003ccite>(Alex Sodari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A big part of doing [the expo] in the Mission and at Mission Cultural Center is being able to engage with the greater Chicano community. If you saw who attended our first event, it was really all ages — people bringing their kids and then also older folks,” says Sodari. “I feel like that was really big for those groups in particular, because they were able to see like, ‘Okay, cool, the young people are still expressing themselves and taking pride in their identity.’” \u003c/p>\n\u003cp>As an organizer, Sodari feels hopeful for the future as MACE continues to expand. Aside from the event, they aim to create a database of Bay Area Latinx and Chicano artists and operate as a distro, purchasing and distributing works from diverse, underrepresented creators. \u003c/p>\n\u003cp>For Sodari, it’s not so much about building a foundation of artists — the foundation has always been there. Instead, they are focusing on uncovering the talent that already exists, and encouraging others to finally recognize it. \u003c/p>\n\u003cp>“The Mission holds it down. The community is still out here and showing up and doing stuff, and we want to be a part of that,” says Sodari. “I want to people to see like, ‘Oh, yeah, there’s hella Chicano artists out there, you just don’t see them.’” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Mission Art and Comic Expo takes place at the Mission Cultural Center for Latino Arts (2868 Mission St.) on Sunday, May 7, 12–6 p.m. Admission is free. More information \u003ca href=\"https://www.instagram.com/missionartandcomicexpo/\">here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The May 7 event, founded in 2019, returns to the Mission Cultural Center with nearly 50 local exhibitors.","status":"publish","parent":0,"modified":1705005551,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":738},"headData":{"title":"Mission Art and Comic Expo Returns with ‘Hella Chicano Artists’ | KQED","description":"The May 7 event, founded in 2019, returns to the Mission Cultural Center with nearly 50 local exhibitors.","ogTitle":"At the Mission Art and Comic Expo, ‘Hella Chicano Artists’ Rep a Local Scene","ogDescription":"","ogImgId":"","twTitle":"At the Mission Art and Comic Expo, ‘Hella Chicano Artists’ Rep a Local Scene","twDescription":"","twImgId":"","socialTitle":"Mission Art and Comic Expo Returns with ‘Hella Chicano Artists’ %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928562/mission-art-and-comic-expo-chicano-latinx-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in Sonoma County during the 1990s, Oakland artist \u003ca href=\"https://www.instagram.com/sodapaints/\">Alex Sodari\u003c/a> often saved up to buy Dark Horse comics at the grocery store and make the trek down to San Francisco for comic conventions. “I really would not be an artist if it weren’t for comic books,” says Sodari, who went on to study illustration at California College of the Arts. But as they moved from enthusiast to creator, they noticed a lack of Latinx and Chicano artists in the mainstream comics scene. \u003c/p>\n\u003cp>“Who are the comics artists that are Latino that are even out there?” says Sodari. “You can count them on one hand, and then it’s like ‘take it or leave it,’ you know? If you don’t like the \u003ca href=\"https://www.fantagraphics.com/collections/love-and-rockets\">Hernandez brothers\u003c/a>, then who else do you really have to read?” \u003c/p>\n\u003cp>Yearning to reconnect with his Mexican heritage and empower local queer and BIPOC zine and comics creators, Sodari founded the \u003ca href=\"https://www.instagram.com/missionartandcomicexpo/\">Mission Art and Comic Expo\u003c/a> (MACE) in 2019 alongside friend and fellow illustrator Anthony James Harmer. On May 7, MACE returns with a lineup of nearly 50 confirmed exhibiting artists at the \u003ca href=\"https://missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13928575\" class=\"wp-caption aligncenter\" style=\"max-width: 1638px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right.jpg\" alt=\"Smiling person with long dark hair, bolo tie in front of table of zines and buttons, two people in background\" width=\"1638\" height=\"1638\" class=\"size-full wp-image-13928575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2019-Alex-Sodari-left-Anthony-Harmer-right-1536x1536.jpg 1536w\" sizes=\"(max-width: 1638px) 100vw, 1638px\">\u003cfigcaption class=\"wp-caption-text\">MACE co-founders Alex Sodari (center) and Anthony James Harmer (right) at the 2019 event. \u003ccite>(Courtesy MACE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A newer addition to the Bay Area indie comics sphere, MACE is inspired by longstanding events like SF Zine Fest and the East Bay Alternative Book and Zine Fest, which have drawn in hungry crowds of art lovers since their respective foundings in 2001 and 2010. When developing MACE, Sodari wanted to create an event that retained the DIY, punk spirit of these zine fests while also highlighting Latinx and Chicano artists in the Mission who may be struggling to put their art into the world and sustain their creative endeavors.\u003c/p>\n\u003cp>“At this point where gentrification is really hitting the Mission hard, [with] a lot of artists having to move out of San Francisco [and] being displaced, we felt like we need to do the event to show that artists still reside in the Mission, and that this is still a place for Chicano art to flourish, despite the economic challenges,” says Sodari. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the first expo, the exhibition hall bustled with the excited chatter of artists and attendees discussing their love for comics. People jumped from table to table, leaving with handfuls of new zines and artwork. Older local Mission residents wandered in, curious, as they discovered pieces that held remnants of a shared home and language. This sense of intergenerational nostalgia and understanding formed a pillar for the expo as it continues to close gaps between community members of different ages and backgrounds. \u003c/p>\n\u003cfigure id=\"attachment_13928576\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-scaled.jpg\" alt=\"Table covered in zines and prints in front of wall with artwork and event name\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13928576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/MACE-2021-three-Alex-Sodari-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A display at the 2021 Mission Art and Comic Expo. \u003ccite>(Alex Sodari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A big part of doing [the expo] in the Mission and at Mission Cultural Center is being able to engage with the greater Chicano community. If you saw who attended our first event, it was really all ages — people bringing their kids and then also older folks,” says Sodari. “I feel like that was really big for those groups in particular, because they were able to see like, ‘Okay, cool, the young people are still expressing themselves and taking pride in their identity.’” \u003c/p>\n\u003cp>As an organizer, Sodari feels hopeful for the future as MACE continues to expand. Aside from the event, they aim to create a database of Bay Area Latinx and Chicano artists and operate as a distro, purchasing and distributing works from diverse, underrepresented creators. \u003c/p>\n\u003cp>For Sodari, it’s not so much about building a foundation of artists — the foundation has always been there. Instead, they are focusing on uncovering the talent that already exists, and encouraging others to finally recognize it. \u003c/p>\n\u003cp>“The Mission holds it down. The community is still out here and showing up and doing stuff, and we want to be a part of that,” says Sodari. “I want to people to see like, ‘Oh, yeah, there’s hella Chicano artists out there, you just don’t see them.’” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Mission Art and Comic Expo takes place at the Mission Cultural Center for Latino Arts (2868 Mission St.) on Sunday, May 7, 12–6 p.m. Admission is free. More information \u003ca href=\"https://www.instagram.com/missionartandcomicexpo/\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928562/mission-art-and-comic-expo-chicano-latinx-artists","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_70"],"tags":["arts_9111","arts_1942","arts_10278","arts_3649","arts_585"],"featImg":"arts_13928574","label":"arts_140"},"arts_13926031":{"type":"posts","id":"arts_13926031","meta":{"index":"posts_1591205157","site":"arts","id":"13926031","score":null,"sort":[1678390446000]},"guestAuthors":[],"slug":"colin-kaepernick-graphic-novel-change-the-game-interview","title":"Colin Kaepernick Describes How He Embraced His Blackness as a Teenager","publishDate":1678390446,"format":"standard","headTitle":"Colin Kaepernick Describes How He Embraced His Blackness as a Teenager | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Before Colin Kaepernick was the face and catalyst of a protest movement — across sports and society — and before he was the San Francisco 49ers’ starting quarterback in the Super Bowl XLVII, he was just a teenager trying to figure out who he was and where he was going.\u003c/p>\n\u003cp>[aside postid='arts_13908958']Navigating everything from family to school can be especially overwhelming as a teenager. When it came to sports, Kaepernick often grappled with whether he was taking the right athletic route to the pros. He ruminated on pursuing baseball — where he had a lot of offers from colleges and received house visits from Major League Baseball personnel — or following his heart and patiently wait for a football scholarship. From anywhere.\u003c/p>\n\u003cp>Outside of sports, Kaepernick wrestled with his identity within his blended adoptive family. Culturally speaking, he felt misunderstood. His adoptive parents were white, and while Kaepernick is biracial, he identified as a Black man and the world around him treated him as such.\u003c/p>\n\u003cp>His upbringing and teen crucibles are the source of his new graphic novel, titled \u003cem>Change the Game\u003c/em>, which is written with Eve Ewing and illustrated by Orlando Caicedo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926032 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an interview with NPR’s Juana Summers, Kaepernick evinces what allowed him to fully soak in and embrace his Blackness. Kaepernick says he got his identity footing looking up to Allen Iverson — AKA ‘The Answer.’ This cultural icon’s bravado, braids and ability to make anyone — even ‘His Airness’ Michael Jordan — look foolish on the basketball court, gave Kaepernick a new prototype of Blackness to build and contribute toward.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the struggles Kaepernick dealt with as a teen\u003c/strong>\u003c/p>\n\u003cp>It was navigating the difficulties of family, community, school, and major life decisions. Like, while I am biracial, I identify as a young Black man. So I was trying to navigate that while having a white family and being in a predominantly white community, and trying to find ways to make sure that my identity and Blackness wasn’t stripped from me along that journey.\u003c/p>\n\u003cp>\u003cstrong>On his decision and inspiration to get cornrows \u003c/strong>\u003c/p>\n\u003cp>This was the era of Allen Iverson, a cultural phenom. He was someone that I looked up to, and I saw him be so unapologetically Black and unapologetically himself. It was something I aspired to, and I looked at that as an opportunity for me to be able to really take hold of my Blackness and do it in a way that I was proud of and I was excited about. And the difficulty with that is being in white culture with Eurocentric beauty standards, navigating what their response to that was at 15 years old and not knowing how to fight back against that, really outside of saying, ‘No, this is just what I want to do.’ And that became a very difficult conversation and situation, navigating that both with my family, with my community, with coaches.\u003c/p>\n\u003cfigure id=\"attachment_13926035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg\" alt=\"Five comic book panels depict a young man going to get his hair braided for the first time. \" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-scaled.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick describes how NBA champion Allen Iverson was an inspiration. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me, I think, about 14 years before I grew my hair back out. So it’s really to show the impact those moments … can have on a young man, on a young woman, and how that carries with them through life.\u003c/p>\n\u003cp>\u003cstrong>On his motivation for creating a graphic novel\u003c/strong>\u003c/p>\n\u003cp>There were a few reasons. One of the reasons, growing up I wasn’t an avid reader was because I didn’t have stories, or I wasn’t introduced to books that had characters that I related to. It wasn’t until I read \u003cem>We’ll Never Forget You, Roberto Clemente\u003c/em>, that I saw another Black person as the lead of a book. It was game changing for me.\u003c/p>\n\u003cp>I knew there were other books out there and other opportunities to be able to find stories, to find narratives that I identified with and that were relatable to me. So what we’re looking to do now is, for younger audiences, give them hopefully characters and stories that they relate to, but also give them pieces of knowledge and situations and try to help them navigate those in ways that I didn’t have access to growing up. And based upon conversations that I’ve had, a lot of other people didn’t as well.\u003c/p>\n\u003cfigure id=\"attachment_13926041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png\" alt=\"A double page spread in a comic book depicts a young Black man feeling uncomfortable at a sports game as his white father conducts a conversation with another white man wearing a confederate flag cap.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick doesn’t shy away from how he navigated living in a white family and being in a predominantly white community. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why the book ends with him heading off to the University of Nevada, Reno\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13905474']We end the story there for a few reasons. One, to make sure that we don’t have a never-ending book, because there’s a lot of story to tell. But the other part of it is we wanted to create a defining moment that younger kids and high school kids could identify with, which is that transition and decision of what to do after high school.\u003c/p>\n\u003cp>And for me, at that point in time, baseball was the obvious decision for everyone around me. I have multiple offers. I had the MLB come and sit down in my living room and tell me they wanted to draft me. There was an obvious career path there. And I had not a single offer for football at this point, but it was what I loved and what I wanted to do. I made the decision that that’s what I was going to chase, in spite of everyone else telling me I should go a different direction.\u003c/p>\n\u003cp>\u003cstrong>On whether the NFL has changed for the better over the past six years\u003c/strong>\u003c/p>\n\u003cp>I haven’t seen any substantial change. I think there is a lot of work to do on that front. Obviously, not playing and being out of the NFL for six years is an indictment on where they are currently at. So I wouldn’t put them at the forefront of goodwill and best of intentions in how they operate.\u003c/p>\n\u003cp>\u003cstrong>On whether Kaepernick still thinks losing his career was worth the start of a movement\u003c/strong>\u003c/p>\n\u003cp>I think there’s this idea out there that those are mutually exclusive, and I don’t subscribe to that. So I think people are multifaceted and multi-talented and ultimately, that’s something that we want to make sure that message is being sent as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>My focus is always on what I can do moving forward. What can I do to change my present and my future? So training at 4:30am to be able to have the opportunity to make a (NFL) comeback? Absolutely. That’s something I do five days a week still. But as far as looking back, that’s not something I do. I’m looking forward to where can I have an impact? What are my passions? And a great example of that is \u003cem>Change The Game\u003c/em>, and this book being able to come out, us being able to share this message with the youth, and it becomes a great opportunity for us to be able to create a future that looks different\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Colin+Kaepernick+describes+how+he+embraced+his+blackness+as+a+teenager&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Kaepernick’s new graphic novel, titled ‘Change the Game,’ depicts his upbringing and teen crucibles.","status":"publish","parent":0,"modified":1705005763,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1238},"headData":{"title":"Colin Kaepernick Describes How He Embraced His Blackness as a Teenager | KQED","description":"Kaepernick’s new graphic novel, titled ‘Change the Game,’ depicts his upbringing and teen crucibles.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Patrick Jarenwattananon","nprImageAgency":"Kaepernick Publishing","nprStoryId":"1161925892","nprApiLink":"http://api.npr.org/query?id=1161925892&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/03/08/1161925892/colin-kaepernick-nfl-graphic-novel-teen-identity?ft=nprml&f=1161925892","nprRetrievedStory":"1","nprPubDate":"Wed, 08 Mar 2023 13:39:00 -0500","nprStoryDate":"Wed, 08 Mar 2023 13:39:18 -0500","nprLastModifiedDate":"Wed, 08 Mar 2023 13:39:18 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2023/03/20230307_atc_change_the_game.mp3?orgId=1&topicId=1055&d=495&story=1161925892&ft=nprml&f=1161925892","nprAudioM3u":"http://api.npr.org/m3u/11161926254-01f2eb.m3u?orgId=1&topicId=1055&d=495&story=1161925892&ft=nprml&f=1161925892","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13926031/colin-kaepernick-graphic-novel-change-the-game-interview","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2023/03/20230307_atc_change_the_game.mp3?orgId=1&topicId=1055&d=495&story=1161925892&ft=nprml&f=1161925892","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Colin Kaepernick was the face and catalyst of a protest movement — across sports and society — and before he was the San Francisco 49ers’ starting quarterback in the Super Bowl XLVII, he was just a teenager trying to figure out who he was and where he was going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908958","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Navigating everything from family to school can be especially overwhelming as a teenager. When it came to sports, Kaepernick often grappled with whether he was taking the right athletic route to the pros. He ruminated on pursuing baseball — where he had a lot of offers from colleges and received house visits from Major League Baseball personnel — or following his heart and patiently wait for a football scholarship. From anywhere.\u003c/p>\n\u003cp>Outside of sports, Kaepernick wrestled with his identity within his blended adoptive family. Culturally speaking, he felt misunderstood. His adoptive parents were white, and while Kaepernick is biracial, he identified as a Black man and the world around him treated him as such.\u003c/p>\n\u003cp>His upbringing and teen crucibles are the source of his new graphic novel, titled \u003cem>Change the Game\u003c/em>, which is written with Eve Ewing and illustrated by Orlando Caicedo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926032 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an interview with NPR’s Juana Summers, Kaepernick evinces what allowed him to fully soak in and embrace his Blackness. Kaepernick says he got his identity footing looking up to Allen Iverson — AKA ‘The Answer.’ This cultural icon’s bravado, braids and ability to make anyone — even ‘His Airness’ Michael Jordan — look foolish on the basketball court, gave Kaepernick a new prototype of Blackness to build and contribute toward.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the struggles Kaepernick dealt with as a teen\u003c/strong>\u003c/p>\n\u003cp>It was navigating the difficulties of family, community, school, and major life decisions. Like, while I am biracial, I identify as a young Black man. So I was trying to navigate that while having a white family and being in a predominantly white community, and trying to find ways to make sure that my identity and Blackness wasn’t stripped from me along that journey.\u003c/p>\n\u003cp>\u003cstrong>On his decision and inspiration to get cornrows \u003c/strong>\u003c/p>\n\u003cp>This was the era of Allen Iverson, a cultural phenom. He was someone that I looked up to, and I saw him be so unapologetically Black and unapologetically himself. It was something I aspired to, and I looked at that as an opportunity for me to be able to really take hold of my Blackness and do it in a way that I was proud of and I was excited about. And the difficulty with that is being in white culture with Eurocentric beauty standards, navigating what their response to that was at 15 years old and not knowing how to fight back against that, really outside of saying, ‘No, this is just what I want to do.’ And that became a very difficult conversation and situation, navigating that both with my family, with my community, with coaches.\u003c/p>\n\u003cfigure id=\"attachment_13926035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg\" alt=\"Five comic book panels depict a young man going to get his hair braided for the first time. \" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-scaled.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick describes how NBA champion Allen Iverson was an inspiration. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me, I think, about 14 years before I grew my hair back out. So it’s really to show the impact those moments … can have on a young man, on a young woman, and how that carries with them through life.\u003c/p>\n\u003cp>\u003cstrong>On his motivation for creating a graphic novel\u003c/strong>\u003c/p>\n\u003cp>There were a few reasons. One of the reasons, growing up I wasn’t an avid reader was because I didn’t have stories, or I wasn’t introduced to books that had characters that I related to. It wasn’t until I read \u003cem>We’ll Never Forget You, Roberto Clemente\u003c/em>, that I saw another Black person as the lead of a book. It was game changing for me.\u003c/p>\n\u003cp>I knew there were other books out there and other opportunities to be able to find stories, to find narratives that I identified with and that were relatable to me. So what we’re looking to do now is, for younger audiences, give them hopefully characters and stories that they relate to, but also give them pieces of knowledge and situations and try to help them navigate those in ways that I didn’t have access to growing up. And based upon conversations that I’ve had, a lot of other people didn’t as well.\u003c/p>\n\u003cfigure id=\"attachment_13926041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png\" alt=\"A double page spread in a comic book depicts a young Black man feeling uncomfortable at a sports game as his white father conducts a conversation with another white man wearing a confederate flag cap.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick doesn’t shy away from how he navigated living in a white family and being in a predominantly white community. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why the book ends with him heading off to the University of Nevada, Reno\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905474","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We end the story there for a few reasons. One, to make sure that we don’t have a never-ending book, because there’s a lot of story to tell. But the other part of it is we wanted to create a defining moment that younger kids and high school kids could identify with, which is that transition and decision of what to do after high school.\u003c/p>\n\u003cp>And for me, at that point in time, baseball was the obvious decision for everyone around me. I have multiple offers. I had the MLB come and sit down in my living room and tell me they wanted to draft me. There was an obvious career path there. And I had not a single offer for football at this point, but it was what I loved and what I wanted to do. I made the decision that that’s what I was going to chase, in spite of everyone else telling me I should go a different direction.\u003c/p>\n\u003cp>\u003cstrong>On whether the NFL has changed for the better over the past six years\u003c/strong>\u003c/p>\n\u003cp>I haven’t seen any substantial change. I think there is a lot of work to do on that front. Obviously, not playing and being out of the NFL for six years is an indictment on where they are currently at. So I wouldn’t put them at the forefront of goodwill and best of intentions in how they operate.\u003c/p>\n\u003cp>\u003cstrong>On whether Kaepernick still thinks losing his career was worth the start of a movement\u003c/strong>\u003c/p>\n\u003cp>I think there’s this idea out there that those are mutually exclusive, and I don’t subscribe to that. So I think people are multifaceted and multi-talented and ultimately, that’s something that we want to make sure that message is being sent as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My focus is always on what I can do moving forward. What can I do to change my present and my future? So training at 4:30am to be able to have the opportunity to make a (NFL) comeback? Absolutely. That’s something I do five days a week still. But as far as looking back, that’s not something I do. I’m looking forward to where can I have an impact? What are my passions? And a great example of that is \u003cem>Change The Game\u003c/em>, and this book being able to come out, us being able to share this message with the youth, and it becomes a great opportunity for us to be able to create a future that looks different\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Colin+Kaepernick+describes+how+he+embraced+his+blackness+as+a+teenager&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926031/colin-kaepernick-graphic-novel-change-the-game-interview","authors":["byline_arts_13926031"],"categories":["arts_1","arts_73","arts_13238"],"tags":["arts_2558","arts_1942","arts_8273","arts_10629","arts_2565","arts_4506"],"affiliates":["arts_137"],"featImg":"arts_13926034","label":"arts_137"},"arts_13925644":{"type":"posts","id":"arts_13925644","meta":{"index":"posts_1591205157","site":"arts","id":"13925644","score":null,"sort":[1677607215000]},"guestAuthors":[],"slug":"marinaomi-i-thought-you-loved-me","title":"Cartoonist MariNaomi Goes Digging for Closure in ‘I Thought You Loved Me’","publishDate":1677607215,"format":"standard","headTitle":"Cartoonist MariNaomi Goes Digging for Closure in ‘I Thought You Loved Me’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For much of 2016, \u003ca href=\"https://www.instagram.com/marinaomiart/?hl=en\">MariNaomi\u003c/a> sat in front of a corkboard, trying to piece together a friendship that had ended 15 years before. Their memories of this friend, Jodie, had mostly disappeared, with only a few ghostly details remaining via old journal entries. The two bonded during their formative adolescent years: exchanging notes and letters, partying, hooking up with boys and figuring out what they’d do with their lives as young high school dropouts in Mill Valley.\u003c/p>\n\u003cp>So why couldn’t MariNaomi remember any of it? What was left was a deep, lingering chasm of resentment and confusion.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13923915,arts_13923606,arts_11908825\"]The corkboard was filled with Post-It notes and no answers. “Goddamn Jodie!” the artist exclaimed.\u003c/p>\n\u003cp>In their latest memoir, \u003ca href=\"https://marinaomi.com/print-books/i-thought-you-loved-me/\">\u003cem>I Thought You Loved Me \u003c/em>\u003c/a>(Fieldmouse; $30), the cartoonist documents this process of excavating buried memories as they attempt to figure out why exactly Jodie ended things over a curt phone call in 2001. The book uses colorful mixed media collages — like drawings overlaid onto email threads and postcards — to walk readers through the emotional disarray of an author “re-forming” their memories. MariNaomi acts as writer, illustrator and personal historian, at one point rifling through calendars and diaries to quantify how many times they’d mentioned or spent time with Jodie in their 14-year relationship (316 times).\u003c/p>\n\u003cp>But these numbers ultimately don’t fill in the blank spaces of MariNaomi’s memory — they only create more questions.\u003c/p>\n\u003cfigure id=\"attachment_13925735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg\" alt='a corkboard with a drawing on it and words that read \"I spent so much time with her. How do I not remember any of this? Who are these people?' width=\"800\" height=\"450\" class=\"size-medium wp-image-13925735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_.jpg 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from MariNaomi’s book, ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a period of time where I was just like, ‘I’m sick and tired of thinking about this!,’” says MariNaomi, who now lives in Alameda, in an interview at a Berkeley cafe. “I’m sick of not forgiving her. How do I let go of this?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a week before they head out to Iowa to kick off their tour for \u003cem>I Thought You Loved Me\u003c/em>, which includes Berkeley and San Francisco events in March. (The book’s publication, initially scheduled for February, was pushed back to May 3 due to an international shipping issue; copies will be for sale exclusively at their events before that.) As they mull over potential questions for their first upcoming event, MariNaomi wonders how the memoir will be received and whether or not it’s too dark.\u003c/p>\n\u003cfigure id=\"attachment_13925685\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg\" alt=\"a portrait of an Asian person with short black hair wearing a black shirt with a rainbow across it. They are smiling and looking off to the side while wearing red lipstick\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MariNaomi, who grew up in Mill Valley, has built a career out of raw, emotional graphic memoirs that push the boundaries of the form. \u003ccite>(Geoff Cordner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a brand-new question, exactly: MariNaomi has been making comics since 1997, and they’ve grown accustomed to using the art form to process complicated life experiences. In their first graphic memoir, \u003cem>Kiss and Tell\u003c/em>, they documented their romantic and intimate relationships from ages zero to 22. In their follow-up book, \u003cem>Dragon’s Breath and Other True Stories\u003c/em>, they brought readers into moments of their tumultuous upbringing and other pivotal relationships that shaped their youth. And in \u003cem>Turning Japanese\u003c/em>, they chronicled three months spent in Japan in their early twenties, working in hostess bars and learning the language to connect with their mother’s side of the family.\u003c/p>\n\u003cp>But for the artist, \u003cem>I Thought You Loved Me\u003c/em> immediately felt different: While previous memoirs included personal, complicated ponderings around identity, race, sexuality and attachment, they were all written years after the events had occurred. There had been time to pause — to look at the past with more objective eyes.\u003c/p>\n\u003cp>“I’m not a fan of using art as catharsis if you’re going to show it to other people,” says MariNaomi. “I think that’s not bad to do, but I don’t think it makes for very good art a lot of the time because you’re not out of it. A lot of that stuff tends to demonize people, which is fine from a personal perspective. But from an artistic perspective, it’s really boring to read someone who’s just angry or putting someone on a pedestal.”\u003c/p>\n\u003cp>Still, they decided to try the project that ultimately became \u003cem>I Thought You Loved Me\u003c/em>, even though they couldn’t clearly map things out from start to finish — and quickly found the process frustrating and unsettling.\u003c/p>\n\u003cfigure id=\"attachment_13925716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg\" alt=\"green grass with a collage over it, a line drawing with a blank notebook and the word 'nothing'\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1020x1552.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-160x243.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-768x1168.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1010x1536.jpeg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4.jpeg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also produced highly visceral art and writing: By beginning to work in the midst of their grief, the hurt they had bottled up became present in each page. Rather than edit out the pain and unknowing of how they would write the book, they allowed the doubt to breathe and set its tone. As a result, the reader is able to journey alongside the writer through an emotional whirlwind that doesn’t minimize the disorienting and unpleasant parts of healing.\u003c/p>\n\u003cp>The memoir begins with photos of Post-It notes. In one, a hand holds a pen to a blank page with the word “nothing” scrawled beneath it. In another, a doodled MariNaomi asks “Why won’t it come?” as blood leaks from their eyes and mouth. In the next, a blue note simply states “Think, Mari, think.” Looking back, they laugh at how stuck they were in the beginning.\u003c/p>\n\u003cfigure id=\"attachment_13925691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925691 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png\" alt=\"a pink collage made of a postcard and handwritten notes\" width=\"800\" height=\"917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-160x183.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-768x881.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png 872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me’ by MariNaomi, out May 3 from Fieldmouse Press. \u003ccite>(Courtesy of the artist/Fieldmouse Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was like, ‘OK, I’m gonna write about it…any day now. Alright. Here it goes. Here’s me looking at a piece of paper. I’m gonna write about it…now! Now. Any second now,’” recounts MariNaomi. “It took a while before I was like, ‘OK, this isn’t going as planned.’”\u003c/p>\n\u003cp>For the reader, the memoir is a bit like reaching under a bed and discovering someone’s secret box of memories: bit by bit, you uncover the puzzle pieces of moments frozen in time. You wander through photos of dead leaves juxtaposed with silhouetted figures, slightly crumpled memo pad pages with musings from the past, old letters written in pink, purple and blue ink, torn journal excerpts, pictures and drawings that mean nothing to you and everything to someone else.\u003c/p>\n\u003cp>Stylistically, \u003cem>I Thought You Loved Me\u003c/em> also departs from MariNaomi’s previous work. In their earlier memoirs, visual structure is fairly cohesive and uniform; each story is told through a series of black-and-white comics, with panels that are inked with neat clarity. This isn’t to say their artwork is simple — even as they adhered to a more traditional comics format, their use of perspective and humor created dynamic and immersive worlds filled with angst, lust, love and rebellion.\u003c/p>\n\u003cfigure id=\"attachment_13925692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png\" alt=\"a black and white comic panel \" width=\"800\" height=\"737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1020x939.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-160x147.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-768x707.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1536x1414.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A panel from ‘Kiss and Tell,’ one of MariNaomi’s earlier graphic memoirs. \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This new memoir, by contrast, takes a more experimental form, discarding panels in favor of one long, unfurling journey. But the artist’s emotional depth remains. At times, the aesthetic lack of boundaries seems to mirror MariNaomi’s unresolved exploration of the past, a mental and artistic voyage that begins nebulously and only expands as dormant memories come back into focus.\u003c/p>\n\u003cp>As memories returned, MariNaomi began to wonder if the Jodie they remembered was ever real or a figment sculpted through yearning.\u003c/p>\n\u003cp>“We’ve been estranged for so long, whoever she was, she could be a completely different person now. I’m probably very different than I was back then. This person ceases to exist at a certain point,” says MariNaomi. “Were they ever three-dimensional to begin with? Or was I idealizing them? How much of that was me projecting my thoughts onto them or things that they would show me or what did I not show them?”\u003c/p>\n\u003cfigure id=\"attachment_13925712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png\" alt=\"a line drawing of a smiling woman and another figure in a mask outlined in red\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-1020x863.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-768x650.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, over six years since they first stared down the corkboard in their dining room — trying and failing to will their memories back — MariNaomi is finally ready to put their book out into the world. At its core, \u003cem>I Thought You Loved Me\u003c/em> is a heartfelt reflection on the past, the fallible nature of memory and the ways betrayal can impact a person’s sense of self and the world around them. While the memoir began as an attempt to rationalize a persisting, gnawing grief and upset, it ultimately became an opportunity to move on.\u003c/p>\n\u003cp>As MariNaomi enters the thick of a book tour and kicks off their next project, they are constantly drawing and writing, chewing on old stories with retroactive wisdom. “That’s kind of the fun thing [about comics and memoir]: you could write about it today. And then you could write about it again tomorrow. And then you could write about it again 50 years from now, and it’s completely different viewpoints.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘I Thought You Loved Me’ is expected to be \u003ca href=\"https://www.fieldmouse.press/shop/p/i-thought-you-loved-me\">published May 3, 2023\u003c/a>. MariNaomi will appear with copies at San Francisco comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a> on March 4 and at Berkeley’s Pegasus Books on \u003ca href=\"https://www.pegasusbookstore.com/pegasus-downtown\">March 23\u003c/a>. More information here. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Through postcards and Post-Its, their new graphic memoir tangles with memory, adolescence and the breakups that shape us. ","status":"publish","parent":0,"modified":1705005794,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1599},"headData":{"title":"Cartoonist MariNaomi Goes Digging for Closure in ‘I Thought You Loved Me’ | KQED","description":"Through postcards and Post-Its, their new graphic memoir tangles with memory, adolescence and the breakups that shape us. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"cartoonist-marinaomi-goes-digging-for-closure-in-i-thought-you-loved-me","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925644/marinaomi-i-thought-you-loved-me","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For much of 2016, \u003ca href=\"https://www.instagram.com/marinaomiart/?hl=en\">MariNaomi\u003c/a> sat in front of a corkboard, trying to piece together a friendship that had ended 15 years before. Their memories of this friend, Jodie, had mostly disappeared, with only a few ghostly details remaining via old journal entries. The two bonded during their formative adolescent years: exchanging notes and letters, partying, hooking up with boys and figuring out what they’d do with their lives as young high school dropouts in Mill Valley.\u003c/p>\n\u003cp>So why couldn’t MariNaomi remember any of it? What was left was a deep, lingering chasm of resentment and confusion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13923915,arts_13923606,arts_11908825"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The corkboard was filled with Post-It notes and no answers. “Goddamn Jodie!” the artist exclaimed.\u003c/p>\n\u003cp>In their latest memoir, \u003ca href=\"https://marinaomi.com/print-books/i-thought-you-loved-me/\">\u003cem>I Thought You Loved Me \u003c/em>\u003c/a>(Fieldmouse; $30), the cartoonist documents this process of excavating buried memories as they attempt to figure out why exactly Jodie ended things over a curt phone call in 2001. The book uses colorful mixed media collages — like drawings overlaid onto email threads and postcards — to walk readers through the emotional disarray of an author “re-forming” their memories. MariNaomi acts as writer, illustrator and personal historian, at one point rifling through calendars and diaries to quantify how many times they’d mentioned or spent time with Jodie in their 14-year relationship (316 times).\u003c/p>\n\u003cp>But these numbers ultimately don’t fill in the blank spaces of MariNaomi’s memory — they only create more questions.\u003c/p>\n\u003cfigure id=\"attachment_13925735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg\" alt='a corkboard with a drawing on it and words that read \"I spent so much time with her. How do I not remember any of this? Who are these people?' width=\"800\" height=\"450\" class=\"size-medium wp-image-13925735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_.jpg 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from MariNaomi’s book, ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a period of time where I was just like, ‘I’m sick and tired of thinking about this!,’” says MariNaomi, who now lives in Alameda, in an interview at a Berkeley cafe. “I’m sick of not forgiving her. How do I let go of this?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a week before they head out to Iowa to kick off their tour for \u003cem>I Thought You Loved Me\u003c/em>, which includes Berkeley and San Francisco events in March. (The book’s publication, initially scheduled for February, was pushed back to May 3 due to an international shipping issue; copies will be for sale exclusively at their events before that.) As they mull over potential questions for their first upcoming event, MariNaomi wonders how the memoir will be received and whether or not it’s too dark.\u003c/p>\n\u003cfigure id=\"attachment_13925685\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg\" alt=\"a portrait of an Asian person with short black hair wearing a black shirt with a rainbow across it. They are smiling and looking off to the side while wearing red lipstick\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MariNaomi, who grew up in Mill Valley, has built a career out of raw, emotional graphic memoirs that push the boundaries of the form. \u003ccite>(Geoff Cordner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a brand-new question, exactly: MariNaomi has been making comics since 1997, and they’ve grown accustomed to using the art form to process complicated life experiences. In their first graphic memoir, \u003cem>Kiss and Tell\u003c/em>, they documented their romantic and intimate relationships from ages zero to 22. In their follow-up book, \u003cem>Dragon’s Breath and Other True Stories\u003c/em>, they brought readers into moments of their tumultuous upbringing and other pivotal relationships that shaped their youth. And in \u003cem>Turning Japanese\u003c/em>, they chronicled three months spent in Japan in their early twenties, working in hostess bars and learning the language to connect with their mother’s side of the family.\u003c/p>\n\u003cp>But for the artist, \u003cem>I Thought You Loved Me\u003c/em> immediately felt different: While previous memoirs included personal, complicated ponderings around identity, race, sexuality and attachment, they were all written years after the events had occurred. There had been time to pause — to look at the past with more objective eyes.\u003c/p>\n\u003cp>“I’m not a fan of using art as catharsis if you’re going to show it to other people,” says MariNaomi. “I think that’s not bad to do, but I don’t think it makes for very good art a lot of the time because you’re not out of it. A lot of that stuff tends to demonize people, which is fine from a personal perspective. But from an artistic perspective, it’s really boring to read someone who’s just angry or putting someone on a pedestal.”\u003c/p>\n\u003cp>Still, they decided to try the project that ultimately became \u003cem>I Thought You Loved Me\u003c/em>, even though they couldn’t clearly map things out from start to finish — and quickly found the process frustrating and unsettling.\u003c/p>\n\u003cfigure id=\"attachment_13925716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg\" alt=\"green grass with a collage over it, a line drawing with a blank notebook and the word 'nothing'\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1020x1552.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-160x243.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-768x1168.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1010x1536.jpeg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4.jpeg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also produced highly visceral art and writing: By beginning to work in the midst of their grief, the hurt they had bottled up became present in each page. Rather than edit out the pain and unknowing of how they would write the book, they allowed the doubt to breathe and set its tone. As a result, the reader is able to journey alongside the writer through an emotional whirlwind that doesn’t minimize the disorienting and unpleasant parts of healing.\u003c/p>\n\u003cp>The memoir begins with photos of Post-It notes. In one, a hand holds a pen to a blank page with the word “nothing” scrawled beneath it. In another, a doodled MariNaomi asks “Why won’t it come?” as blood leaks from their eyes and mouth. In the next, a blue note simply states “Think, Mari, think.” Looking back, they laugh at how stuck they were in the beginning.\u003c/p>\n\u003cfigure id=\"attachment_13925691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925691 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png\" alt=\"a pink collage made of a postcard and handwritten notes\" width=\"800\" height=\"917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-160x183.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-768x881.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png 872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me’ by MariNaomi, out May 3 from Fieldmouse Press. \u003ccite>(Courtesy of the artist/Fieldmouse Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was like, ‘OK, I’m gonna write about it…any day now. Alright. Here it goes. Here’s me looking at a piece of paper. I’m gonna write about it…now! Now. Any second now,’” recounts MariNaomi. “It took a while before I was like, ‘OK, this isn’t going as planned.’”\u003c/p>\n\u003cp>For the reader, the memoir is a bit like reaching under a bed and discovering someone’s secret box of memories: bit by bit, you uncover the puzzle pieces of moments frozen in time. You wander through photos of dead leaves juxtaposed with silhouetted figures, slightly crumpled memo pad pages with musings from the past, old letters written in pink, purple and blue ink, torn journal excerpts, pictures and drawings that mean nothing to you and everything to someone else.\u003c/p>\n\u003cp>Stylistically, \u003cem>I Thought You Loved Me\u003c/em> also departs from MariNaomi’s previous work. In their earlier memoirs, visual structure is fairly cohesive and uniform; each story is told through a series of black-and-white comics, with panels that are inked with neat clarity. This isn’t to say their artwork is simple — even as they adhered to a more traditional comics format, their use of perspective and humor created dynamic and immersive worlds filled with angst, lust, love and rebellion.\u003c/p>\n\u003cfigure id=\"attachment_13925692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png\" alt=\"a black and white comic panel \" width=\"800\" height=\"737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1020x939.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-160x147.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-768x707.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1536x1414.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A panel from ‘Kiss and Tell,’ one of MariNaomi’s earlier graphic memoirs. \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This new memoir, by contrast, takes a more experimental form, discarding panels in favor of one long, unfurling journey. But the artist’s emotional depth remains. At times, the aesthetic lack of boundaries seems to mirror MariNaomi’s unresolved exploration of the past, a mental and artistic voyage that begins nebulously and only expands as dormant memories come back into focus.\u003c/p>\n\u003cp>As memories returned, MariNaomi began to wonder if the Jodie they remembered was ever real or a figment sculpted through yearning.\u003c/p>\n\u003cp>“We’ve been estranged for so long, whoever she was, she could be a completely different person now. I’m probably very different than I was back then. This person ceases to exist at a certain point,” says MariNaomi. “Were they ever three-dimensional to begin with? Or was I idealizing them? How much of that was me projecting my thoughts onto them or things that they would show me or what did I not show them?”\u003c/p>\n\u003cfigure id=\"attachment_13925712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png\" alt=\"a line drawing of a smiling woman and another figure in a mask outlined in red\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-1020x863.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-768x650.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, over six years since they first stared down the corkboard in their dining room — trying and failing to will their memories back — MariNaomi is finally ready to put their book out into the world. At its core, \u003cem>I Thought You Loved Me\u003c/em> is a heartfelt reflection on the past, the fallible nature of memory and the ways betrayal can impact a person’s sense of self and the world around them. While the memoir began as an attempt to rationalize a persisting, gnawing grief and upset, it ultimately became an opportunity to move on.\u003c/p>\n\u003cp>As MariNaomi enters the thick of a book tour and kicks off their next project, they are constantly drawing and writing, chewing on old stories with retroactive wisdom. “That’s kind of the fun thing [about comics and memoir]: you could write about it today. And then you could write about it again tomorrow. And then you could write about it again 50 years from now, and it’s completely different viewpoints.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Thought You Loved Me’ is expected to be \u003ca href=\"https://www.fieldmouse.press/shop/p/i-thought-you-loved-me\">published May 3, 2023\u003c/a>. MariNaomi will appear with copies at San Francisco comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a> on March 4 and at Berkeley’s Pegasus Books on \u003ca href=\"https://www.pegasusbookstore.com/pegasus-downtown\">March 23\u003c/a>. More information here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925644/marinaomi-i-thought-you-loved-me","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_11374","arts_928","arts_1942","arts_10278","arts_10629","arts_19864","arts_9054","arts_19453","arts_585"],"featImg":"arts_13925742","label":"arts_140"},"arts_13923915":{"type":"posts","id":"arts_13923915","meta":{"index":"posts_1591205157","site":"arts","id":"13923915","score":null,"sort":[1674495558000]},"guestAuthors":[],"slug":"no-straight-lines-traces-transformation-through-comic-books","title":"‘No Straight Lines’ Traces Transformation Through Comic Books","publishDate":1674495558,"format":"standard","headTitle":"‘No Straight Lines’ Traces Transformation Through Comic Books | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Pop culture, by definition, is disposable mass entertainment, yet it frequently tackles crucial subjects. Horror movies, for example, express the latent fears of a society. Comic books, especially gay and lesbian strips, tell stories and make characters visible that don’t exist anywhere else.\u003c/p>\n\u003cp>“You have to understand that as a kid I read \u003cem>Superman\u003c/em>, \u003cem>Batman\u003c/em> and the nicey nicey ones like \u003cem>Archie\u003c/em>,” Vivian Kleiman relates. “By contrast, queer comics were about us and our lives. We couldn’t talk to our family, or if we did we feared all kinds of stuff. My older sister agreed, when I came out to her, that if I told my mom I was a lesbian she would say the Prayer of the Dead over me. She would sit shiva, as a good Orthodox woman would do at that time.”\u003c/p>\n\u003cp>After she left her hometown of Philadelphia, Kleiman gravitated to Berkeley. Like so many lesbians in major cities around the country in the ’80s, the first queer comic strip she discovered — in the feminist press, which was colloquially known as the lesbian press — was Alison Bechdel’s \u003cem>Dykes to Watch Out For\u003c/em>.\u003c/p>\n\u003cp>“To actually find our voices and our images, though compressed and consolidated in these little haiku, three or four-panel stories, was such a gift,” the East Bay documentary filmmaker marvels. “It was literally a lifeline.”\u003c/p>\n\u003cfigure id=\"attachment_13923962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13923962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">East Bay filmmaker Vivian Kleiman. \u003ccite>(Compadre Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kleiman’s latest work, \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em>, closed the Frameline festival at the Castro in 2021 (after premiering at Tribeca) and eventually screened at nearly a hundred festivals. The doc receives its national television broadcast Monday, Jan. 23 on KQED in the \u003ci>Independent Lens\u003c/i> series (then streams online for free through April 22).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kleiman adapted Justin Hall’s 2012 anthology, \u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>, which featured some 70 artists. Hall imagined the collated images would translate onscreen, but Kleiman wasn’t interested in, as she puts it, “an encyclopedic list of who did what when.” Instead, she narrowed the field to five cartoonists: Mary Wings, Howard Cruse, Jennifer Camper, Rupert Kinnard and Bechdel.\u003c/p>\n\u003cp>“My goal was to give the viewer a more intimate relationship to some of the artists’ lives,” Kleiman explains over coffee drinks at a café near her Berkeley home. “Through their personal stories we also get a history of the art form, starting from somebody seated on their couch scratching away with pen and paper [all the way] to web comics.”\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13923606,arts_13921425,arts_13890579\"]In addition, \u003cem>No Straight Lines\u003c/em> is a social history. Cruse, then a Madison Avenue graphic designer, was on Christopher Street in 1969 when the Stonewall Inn’s clientele got fed up with police harassment. He later recounted his experience in comic book form. In the ’70s, Kinnard wrote a popular weekly strip featuring a Black hero for his Iowa college newspaper — and revealed the character was gay.\u003c/p>\n\u003cp>Along the way, we get a tour of counterculture and DIY publishing from underground comics to alternative weeklies, on to ’zines and graphic novels (notably Cruse’s award-winning \u003cem>Stuck Rubber Baby\u003c/em> and Bechdel’s best-selling \u003cem>Fun Home\u003c/em>). All economics is personal: Self-expression was the artists’ primary driver, but making a living was important, too.\u003c/p>\n\u003cp>Several elements elevate \u003cem>No Straight Lines\u003c/em> above the typical historical doc. The five artists don’t recount familiar (to them) anecdotes but vividly re-experience their pivotal moments — how it felt to create and draw queer experiences and encounters, or discover them for the first time. First-person testimony from good storytellers can’t be topped, least of all by dry analysis.\u003c/p>\n\u003cp>“I had a lot of pressure to include academics,” Kleiman recalls, “who would tell us what the meaning was behind all the stories we were hearing. And I knew from the absolute get-go there would not be one academic or expert in the field. People don’t need outsiders to explain themselves.”\u003c/p>\n\u003cp>But Kleiman came to recognize that another group of voices was necessary: Younger cartoonists.\u003c/p>\n\u003cp>“When I had the first or second rough cut, I took a look at it, sat back and thought: Interesting narrative, well-edited. But I wouldn’t watch it a second time. What’s missing? A sense of vitality and gutsiness and rawness, which is what the comics were about and what the artists themselves were about.”\u003c/p>\n\u003cp>https://youtu.be/c_qO8wZwKtA\u003c/p>\n\u003cp>Kleiman’s five subjects, now in their 70s, 60s and 50s, didn’t have the edge, the hunger, something to prove like they’d had in their 20s. So when the international Queers & Comics Conference was held in the Bay Area, the filmmaker tried a low-cost experiment. She hired a crew and set up a camera, and conducted 10-minute interviews with a parade of next-generation comic book artists.\u003c/p>\n\u003cp>“I didn’t know their names, I didn’t know their artwork, I didn’t know anything, and we just started to talk,” Kleiman says. “They didn’t know a lot of the pioneers’ work. I had expected an attitude that I had at their age, which was ‘the old people don’t know nothing. We don’t need them. They have no meaning to us.’ Instead, each and every one was grateful and acknowledged how they were the beneficiaries of the work the others had done and the challenges they had faced and overcome.”\u003c/p>\n\u003cp>Their presence in \u003cem>No Straight Lines\u003c/em> provides more than youthful energy. They lift the film out of the realm of history and into the perennial present. Self-acceptance, self-expression, coming out — themes that queer comic book artists explored from the beginning — are both universal and timeless, regardless of gender identity, sexual orientation or physical appearance.\u003c/p>\n\u003cp>The prevailing direction of \u003cem>No Straight Lines\u003c/em>, as with many docs about the queer experience in America, is that things have gotten better. In particular, Alison Bechdel’s unlikely career path to mainstream acceptance marks a breakthrough for lesbians. Close to throwing in the towel after her alternative newspaper outlets folded, she published an unexpectedly popular graphic novel that, even more improbably, birthed an acclaimed Broadway musical. \u003c/p>\n\u003cp>[aside postID='arts_13923268']Maia Kobabe, one of the young artists interviewed by the filmmaker at the Queers & Comics Conference, likely has a different view of progress. “\u003cem>Gender Queer: A Memoir\u003c/em>, Maia’s first published graphic memoir, today is the most banned book in America,” Kleiman says. “It walks you through the process of Maia coming to the realization that Maia is gender-queer. I don’t think there’s any exposed body parts [that prompted objections]; it was the [book’s] candor and the acceptance. Meanwhile, sales have skyrocketed. It’s wonderful and it’s horrific.”\u003c/p>\n\u003cp>The telecast of \u003cem>No Straight Lines\u003c/em> offers another measure of current conservative attitudes toward art. PBS standards for prime-time broadcast now exceed FCC regulations, Kleiman says, so she had to cover the multitude of unclothed body parts in the comic book art. (Instead of black bars, she amusingly employs rainbow patches.)\u003c/p>\n\u003cp>Early in her career, Kleiman worked with the late Bay Area filmmaker Marlon Riggs on his renowned documentaries \u003cem>Tongues Untied\u003c/em> (1991) and \u003cem>Color Adjustment\u003c/em> (1992). The former film is a personal, poetic meditation on Black homosexuality that includes sequences of physical affection. \u003c/p>\n\u003cp>“So \u003cem>Tongues Untied\u003c/em>,” Kleiman declares, “which was broadcast nationally on PBS in 1991 without one change to the director’s cut, today would not be given a slot on prime-time television without some blurring and bleeping.”\u003c/p>\n\u003cp>Of course, Kleiman is nonetheless elated that her film is airing on television. She doesn’t come out and say it, but she won’t be surprised if she meets a young artist one day who was inspired to draw comics after seeing \u003cem>No Straight Lines\u003c/em>. \u003c/p>\n\u003cp>“The wonderful thing about comics is that it’s totally accessible,” she says. “It doesn’t take much. It can be as simple as pen and paper, which many young people still do and prefer. Some people do it without any training at all.”\u003c/p>\n\u003cp>With a smile, Kleiman adds, “And some people benefit from a class, and having critical feedback that helps them learn more about narrative and structure and using the shape of the page.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘No Straight Lines: The Rise of Queer Comics’ airs on \u003ci>Independent Lens\u003c/i> on Jan. 23, then streams online for free through April 22. \u003ca href=\"https://www.pbs.org/independentlens/documentaries/no-straight-lines/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"East Bay filmmaker Vivian Kleiman’s foray into queer comics history is serious fun.","status":"publish","parent":0,"modified":1705005953,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1497},"headData":{"title":"‘No Straight Lines’ Traces Transformation Through Comic Books | KQED","description":"East Bay filmmaker Vivian Kleiman’s foray into queer comics history is serious fun.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13923915/no-straight-lines-traces-transformation-through-comic-books","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop culture, by definition, is disposable mass entertainment, yet it frequently tackles crucial subjects. Horror movies, for example, express the latent fears of a society. Comic books, especially gay and lesbian strips, tell stories and make characters visible that don’t exist anywhere else.\u003c/p>\n\u003cp>“You have to understand that as a kid I read \u003cem>Superman\u003c/em>, \u003cem>Batman\u003c/em> and the nicey nicey ones like \u003cem>Archie\u003c/em>,” Vivian Kleiman relates. “By contrast, queer comics were about us and our lives. We couldn’t talk to our family, or if we did we feared all kinds of stuff. My older sister agreed, when I came out to her, that if I told my mom I was a lesbian she would say the Prayer of the Dead over me. She would sit shiva, as a good Orthodox woman would do at that time.”\u003c/p>\n\u003cp>After she left her hometown of Philadelphia, Kleiman gravitated to Berkeley. Like so many lesbians in major cities around the country in the ’80s, the first queer comic strip she discovered — in the feminist press, which was colloquially known as the lesbian press — was Alison Bechdel’s \u003cem>Dykes to Watch Out For\u003c/em>.\u003c/p>\n\u003cp>“To actually find our voices and our images, though compressed and consolidated in these little haiku, three or four-panel stories, was such a gift,” the East Bay documentary filmmaker marvels. “It was literally a lifeline.”\u003c/p>\n\u003cfigure id=\"attachment_13923962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13923962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">East Bay filmmaker Vivian Kleiman. \u003ccite>(Compadre Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kleiman’s latest work, \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em>, closed the Frameline festival at the Castro in 2021 (after premiering at Tribeca) and eventually screened at nearly a hundred festivals. The doc receives its national television broadcast Monday, Jan. 23 on KQED in the \u003ci>Independent Lens\u003c/i> series (then streams online for free through April 22).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kleiman adapted Justin Hall’s 2012 anthology, \u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>, which featured some 70 artists. Hall imagined the collated images would translate onscreen, but Kleiman wasn’t interested in, as she puts it, “an encyclopedic list of who did what when.” Instead, she narrowed the field to five cartoonists: Mary Wings, Howard Cruse, Jennifer Camper, Rupert Kinnard and Bechdel.\u003c/p>\n\u003cp>“My goal was to give the viewer a more intimate relationship to some of the artists’ lives,” Kleiman explains over coffee drinks at a café near her Berkeley home. “Through their personal stories we also get a history of the art form, starting from somebody seated on their couch scratching away with pen and paper [all the way] to web comics.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13923606,arts_13921425,arts_13890579"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In addition, \u003cem>No Straight Lines\u003c/em> is a social history. Cruse, then a Madison Avenue graphic designer, was on Christopher Street in 1969 when the Stonewall Inn’s clientele got fed up with police harassment. He later recounted his experience in comic book form. In the ’70s, Kinnard wrote a popular weekly strip featuring a Black hero for his Iowa college newspaper — and revealed the character was gay.\u003c/p>\n\u003cp>Along the way, we get a tour of counterculture and DIY publishing from underground comics to alternative weeklies, on to ’zines and graphic novels (notably Cruse’s award-winning \u003cem>Stuck Rubber Baby\u003c/em> and Bechdel’s best-selling \u003cem>Fun Home\u003c/em>). All economics is personal: Self-expression was the artists’ primary driver, but making a living was important, too.\u003c/p>\n\u003cp>Several elements elevate \u003cem>No Straight Lines\u003c/em> above the typical historical doc. The five artists don’t recount familiar (to them) anecdotes but vividly re-experience their pivotal moments — how it felt to create and draw queer experiences and encounters, or discover them for the first time. First-person testimony from good storytellers can’t be topped, least of all by dry analysis.\u003c/p>\n\u003cp>“I had a lot of pressure to include academics,” Kleiman recalls, “who would tell us what the meaning was behind all the stories we were hearing. And I knew from the absolute get-go there would not be one academic or expert in the field. People don’t need outsiders to explain themselves.”\u003c/p>\n\u003cp>But Kleiman came to recognize that another group of voices was necessary: Younger cartoonists.\u003c/p>\n\u003cp>“When I had the first or second rough cut, I took a look at it, sat back and thought: Interesting narrative, well-edited. But I wouldn’t watch it a second time. What’s missing? A sense of vitality and gutsiness and rawness, which is what the comics were about and what the artists themselves were about.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/c_qO8wZwKtA'\n title='//www.youtube.com/embed/c_qO8wZwKtA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kleiman’s five subjects, now in their 70s, 60s and 50s, didn’t have the edge, the hunger, something to prove like they’d had in their 20s. So when the international Queers & Comics Conference was held in the Bay Area, the filmmaker tried a low-cost experiment. She hired a crew and set up a camera, and conducted 10-minute interviews with a parade of next-generation comic book artists.\u003c/p>\n\u003cp>“I didn’t know their names, I didn’t know their artwork, I didn’t know anything, and we just started to talk,” Kleiman says. “They didn’t know a lot of the pioneers’ work. I had expected an attitude that I had at their age, which was ‘the old people don’t know nothing. We don’t need them. They have no meaning to us.’ Instead, each and every one was grateful and acknowledged how they were the beneficiaries of the work the others had done and the challenges they had faced and overcome.”\u003c/p>\n\u003cp>Their presence in \u003cem>No Straight Lines\u003c/em> provides more than youthful energy. They lift the film out of the realm of history and into the perennial present. Self-acceptance, self-expression, coming out — themes that queer comic book artists explored from the beginning — are both universal and timeless, regardless of gender identity, sexual orientation or physical appearance.\u003c/p>\n\u003cp>The prevailing direction of \u003cem>No Straight Lines\u003c/em>, as with many docs about the queer experience in America, is that things have gotten better. In particular, Alison Bechdel’s unlikely career path to mainstream acceptance marks a breakthrough for lesbians. Close to throwing in the towel after her alternative newspaper outlets folded, she published an unexpectedly popular graphic novel that, even more improbably, birthed an acclaimed Broadway musical. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923268","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Maia Kobabe, one of the young artists interviewed by the filmmaker at the Queers & Comics Conference, likely has a different view of progress. “\u003cem>Gender Queer: A Memoir\u003c/em>, Maia’s first published graphic memoir, today is the most banned book in America,” Kleiman says. “It walks you through the process of Maia coming to the realization that Maia is gender-queer. I don’t think there’s any exposed body parts [that prompted objections]; it was the [book’s] candor and the acceptance. Meanwhile, sales have skyrocketed. It’s wonderful and it’s horrific.”\u003c/p>\n\u003cp>The telecast of \u003cem>No Straight Lines\u003c/em> offers another measure of current conservative attitudes toward art. PBS standards for prime-time broadcast now exceed FCC regulations, Kleiman says, so she had to cover the multitude of unclothed body parts in the comic book art. (Instead of black bars, she amusingly employs rainbow patches.)\u003c/p>\n\u003cp>Early in her career, Kleiman worked with the late Bay Area filmmaker Marlon Riggs on his renowned documentaries \u003cem>Tongues Untied\u003c/em> (1991) and \u003cem>Color Adjustment\u003c/em> (1992). The former film is a personal, poetic meditation on Black homosexuality that includes sequences of physical affection. \u003c/p>\n\u003cp>“So \u003cem>Tongues Untied\u003c/em>,” Kleiman declares, “which was broadcast nationally on PBS in 1991 without one change to the director’s cut, today would not be given a slot on prime-time television without some blurring and bleeping.”\u003c/p>\n\u003cp>Of course, Kleiman is nonetheless elated that her film is airing on television. She doesn’t come out and say it, but she won’t be surprised if she meets a young artist one day who was inspired to draw comics after seeing \u003cem>No Straight Lines\u003c/em>. \u003c/p>\n\u003cp>“The wonderful thing about comics is that it’s totally accessible,” she says. “It doesn’t take much. It can be as simple as pen and paper, which many young people still do and prefer. Some people do it without any training at all.”\u003c/p>\n\u003cp>With a smile, Kleiman adds, “And some people benefit from a class, and having critical feedback that helps them learn more about narrative and structure and using the shape of the page.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘No Straight Lines: The Rise of Queer Comics’ airs on \u003ci>Independent Lens\u003c/i> on Jan. 23, then streams online for free through April 22. \u003ca href=\"https://www.pbs.org/independentlens/documentaries/no-straight-lines/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923915/no-straight-lines-traces-transformation-through-comic-books","authors":["22"],"categories":["arts_1","arts_74","arts_70"],"tags":["arts_1942","arts_13672","arts_10278"],"featImg":"arts_13923961","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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