What Do Haikus, Lesbians and Cats Have In Common? Ask Anna Pulley
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Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'
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Ask Anna Pulley","publishDate":1461623563,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Like Walt Whitman, Steve Miller, and countless others before her, Oakland writer \u003ca href=\"http://com\" target=\"_blank\">Anna Pulley\u003c/a> is many things: A lesbian; a haiku aficionado; a whip-smart, pun-loving relationship and sex advice columnist.\u003c/p>\n\u003cp>She's also a human being who, not too long ago, was having a really tough year. In 2010, Pulley's fiancée dumped her. Within a matter of weeks, her father was diagnosed with cancer. Staring down depression and an accompanying case of writer's block, Pulley began digging herself out one very small step at a time: Five syllables, then seven, then five again.\u003c/p>\n\u003cp>The result is a book so funny, you'd never guess at its origins: \u003cem>The Lesbian Sex Haiku Book (With Cats!)\u003c/em>, out last week on Flatiron Books -- and celebrated with a \u003ca href=\"https://www.facebook.com/events/1560388467622852/\" target=\"_blank\">reading April 28 at Pegasus Books in Berkeley\u003c/a> -- is a hilarious and thoroughly relatable meditation on modern relationships, from the pitfalls of online dating to the realities of sex with a bad back. Self-deprecating jokes about Audre Lorde, performance fleece, and \u003cem>The L Word \u003c/em>abound. Oh, and the whole thing's illustrated with cats.\u003c/p>\n\u003cfigure id=\"attachment_22798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-22798 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/bondagecat_w-800x731.jpg\" alt=\"bondagecat_w\" width=\"800\" height=\"731\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w-800x731.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w-400x365.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w-768x701.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bondage Cat, by Kelsey Beyer\u003c/figcaption>\u003c/figure>\n\u003cp>The book, which contains nearly 500 haikus, can serve as educational material if you like -- what lesbians actually do in the bedroom remains, thanks to thoroughly unrealistic porn, something of a mystery to many. But its pure entertainment value is not to be underestimated, in large part thanks to its cheeky line-drawings of perturbed-looking felines, penned by illustrator (and Pulley's girlfriend) \u003ca href=\"http://kelseybeyer.com\">Kelsey Beyer\u003c/a>.\u003c/p>\n\u003cp>Ahead of the book's launch, we caught up with Pulley by phone to talk lesbian stereotypes, the haiku renaissance, and the challenges of publishing a book with one's partner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: You've mentioned that you think the haiku is having something of a revival in American culture at large right now. Where are you seeing that, and why do you think that's happening?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anna Pulley: \u003c/strong>I think its popularity sort of comes and goes. It was popular in the '60s due to the Beats -- Jack Kerouac and Gary Snyder both popularized them. But then, just in the last 10 years or so, we've had a kind of splurge of books: \u003cem>Hipster Haiku\u003c/em>,\u003cem> Zombie Haiku, Werewolf Haiku. \u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>I think Instagram is one huge reason people are paying attention right now. \u003ca href=\"http://www.nytimes.com/2015/11/08/business/media/web-poets-society-new-breed-succeeds-in-taking-verse-viral.html\" target=\"_blank\">Tyler Knott Greggson\u003c/a> writes haiku on Instagram and one of the Kardashians favorited one, so he sort of blew up overnight.\u003c/p>\n\u003caside class=\"pullquote alignright\">What a spirited flogging! Maybe next time no / GMO lecture?\u003c/aside>\n\u003cp>And then there's Twitter. I think because of our generation's sort of collective ADHD, our lack of attention span, [haiku] is appealing because they're short, digestible, and really easy to share.\u003c/p>\n\u003cfigure id=\"attachment_23169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-23169\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-800x1031.jpg\" alt=\"Anna Pulley (right) and illustrator Kelsey Beyer\" width=\"800\" height=\"1031\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-800x1031.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-1180x1521.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-960x1238.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Pulley (right) and illustrator Kelsey Beyer \u003ccite>(John Orvis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You touch on that in the book -- that your job was in social media during the time you started writing haikus frequently, that Twitter started played into your writing that way. \u003c/strong>\u003c/p>\n\u003cp>I think it definitely helped that I was doing social media, so I was very primed to have this short-form mentality. And then, you know, my life fell apart. I had writer's block, and I couldn't really claw my way out of it. Thinking in short, 17-syllable chunks was something I \u003cem>could\u003c/em> do.\u003c/p>\n\u003cp>The other thing that catalyzed it for me was falling in love with a married woman. [Laughs.] She lived across the country and we didn't get to see each other very often, so we had this message-based way of communicating with each other. We wrote hundreds of haikus back and forth, for years, communicating in this antiquated poetic form. And that really helped solidify the fact that I was going to be okay: I wasn't incapable of writing, and I wasn't this undesirable person.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-23172\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/B7aQWIMCcAAYFO8.jpg\" alt=\"B7aQWIMCcAAYFO8\" width=\"600\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/B7aQWIMCcAAYFO8.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/B7aQWIMCcAAYFO8-400x535.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>You play a lot in this book with stereotypes about lesbians -- and obviously, since you are gay, a lot of it just comes off as self-deprecating humor. But I'm curious if you were conscious, as you were writing, about where the line is between poking fun and perpetuating these kind of clichés? \u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Stereotypes are definitely something that have been on my mind. I was nervous I would be perpetuating stereotypes, that lesbians would be mad at me. But I also think that stereotypes are fascinating, and that they have a lot of subversive potential -- they force you to look at these underlying causes. Why does society think that lesbian bed death is a thing? There's been some research that shows lesbians have less \u003cem>frequent\u003c/em> sex, but it's longer. I think there are interesting questions within stereotypes about how we define ourselves as a community. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>It's also funny that probably one of the most common stereotypes is that lesbians are humorless, whereas this book... \u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was probably the biggest one that I was trying to counter. Obviously we can have a sense of humor, but historically, if you look at lesbians, we're probably protesting something as opposed to mocking it or celebrating it for its humor. \u003c/span>\u003c/p>\n\u003caside class=\"pullquote alignright\">It's like straight sex, but / with more slouchy blazers and / P!nk dance remixes.\u003c/aside>\n\u003cp>So then it's, okay, why do we have this legacy? Also, frankly, I embody a lot of lesbian stereotypes, and I think that's really funny. I'm not burdened by the fact that I own a truck, for instance.\u003c/p>\n\u003cfigure id=\"attachment_23173\" class=\"wp-caption aligncenter\" style=\"max-width: 659px\">\u003cimg class=\"size-full wp-image-23173\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/craigslistcat_w.jpg\" alt=\"Craigslist Cat. \" width=\"659\" height=\"540\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/craigslistcat_w.jpg 659w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/craigslistcat_w-400x328.jpg 400w\" sizes=\"(max-width: 659px) 100vw, 659px\">\u003cfigcaption class=\"wp-caption-text\">Craigslist Cat. \u003ccite>(Illustration by Kelsey Beyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before this was a book, it was a blog post on The Toast, and I remember reading the comments when it went up -- everyone was just so stoked by the combination of cats and haikus and lesbians. Were you surprised by the reaction to that post?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was surprised as hell. That first post is actually what got us a book deal -- the publisher at FlatIron saw it and got in touch. I didn't have a book proposal, I didn't have an agent. It was completely shocking. But also, I think lesbians are starting to have their time in the limelight -- it's not that weird to be a queer person in 2016, so I think there is a sense of, \"maybe it's time to learn.\" You know, maybe it's time to learn about Tofurkey and whatnot. But yeah, after that post, I wrote pretty much the whole thing in four months. \u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-23184\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/kitties.jpg\" alt=\"kitties\" width=\"471\" height=\"402\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/kitties.jpg 471w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/kitties-400x341.jpg 400w\" sizes=\"(max-width: 471px) 100vw, 471px\">\u003c/p>\n\u003cp>\u003cstrong>Tell me about having Kelsey illustrate the book -- what was it like to work on a book with your partner?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mostly great. We had a lot of fun together; creatively, we were very much on the same page. She was the one who came up with the cat concept to begin with. Wendy MacNaughton was going to illustrate the book but then she got too famous, so it was really helpful that I was dating an artist. Some of the haikus were written for her, or so she could draw certain things -- I'd be like, \"Right, this one's for you, I'll make a haiku about a long-haired butch and it'll involve John Stamos and it'll be great.\" Some of the financial stuff around the contract was tricky to iron out, to the point where we did wind up going to couples' therapy. Which is, of course, another lesbian stereotype. So that was also great. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What's next for you two with promotion? Are you taking the cats on tour?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[After the Bay Area events], I would love to go on a small-ish book tour to promote the lesbians and the cats -- New York, Chicago. And then \u003ca href=\"http://catconla.com/\">Cat Con\u003c/a> is happening in LA in June, so that should be...a whole other thing.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Is that, like, cat videos, or furries, or both?\u003c/strong>\u003c/p>\n\u003cp>I mean, can you have a cat festival without furries? I guess we'll find out.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Anna Pulley and Kelsey Beyer will appear at Pegasus Books in Berkeley this Thursday, April 28 at 7:30 pm. \u003ca href=\"https://www.facebook.com/events/1560388467622852/\" target=\"_blank\">More details here\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"\"Picture foreplay that lasts more than a few minutes. Now, add some crying.\"","status":"publish","parent":0,"modified":1461869226,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1381},"headData":{"title":"What Do Haikus, Lesbians and Cats Have In Common? Ask Anna Pulley | KQED","description":""Picture foreplay that lasts more than a few minutes. Now, add some crying."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Do Haikus, Lesbians and Cats Have In Common? Ask Anna Pulley","datePublished":"2016-04-25T22:32:43.000Z","dateModified":"2016-04-28T18:47:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"22716 http://ww2.kqed.org/pop/?p=22716","disqusUrl":"https://ww2.kqed.org/pop/2016/04/25/what-do-haikus-lesbians-and-cats-have-in-common-ask-anna-pulley/","disqusTitle":"What Do Haikus, Lesbians and Cats Have In Common? Ask Anna Pulley","path":"/pop/22716/what-do-haikus-lesbians-and-cats-have-in-common-ask-anna-pulley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like Walt Whitman, Steve Miller, and countless others before her, Oakland writer \u003ca href=\"http://com\" target=\"_blank\">Anna Pulley\u003c/a> is many things: A lesbian; a haiku aficionado; a whip-smart, pun-loving relationship and sex advice columnist.\u003c/p>\n\u003cp>She's also a human being who, not too long ago, was having a really tough year. In 2010, Pulley's fiancée dumped her. Within a matter of weeks, her father was diagnosed with cancer. Staring down depression and an accompanying case of writer's block, Pulley began digging herself out one very small step at a time: Five syllables, then seven, then five again.\u003c/p>\n\u003cp>The result is a book so funny, you'd never guess at its origins: \u003cem>The Lesbian Sex Haiku Book (With Cats!)\u003c/em>, out last week on Flatiron Books -- and celebrated with a \u003ca href=\"https://www.facebook.com/events/1560388467622852/\" target=\"_blank\">reading April 28 at Pegasus Books in Berkeley\u003c/a> -- is a hilarious and thoroughly relatable meditation on modern relationships, from the pitfalls of online dating to the realities of sex with a bad back. Self-deprecating jokes about Audre Lorde, performance fleece, and \u003cem>The L Word \u003c/em>abound. Oh, and the whole thing's illustrated with cats.\u003c/p>\n\u003cfigure id=\"attachment_22798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-22798 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/bondagecat_w-800x731.jpg\" alt=\"bondagecat_w\" width=\"800\" height=\"731\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w-800x731.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w-400x365.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w-768x701.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/bondagecat_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bondage Cat, by Kelsey Beyer\u003c/figcaption>\u003c/figure>\n\u003cp>The book, which contains nearly 500 haikus, can serve as educational material if you like -- what lesbians actually do in the bedroom remains, thanks to thoroughly unrealistic porn, something of a mystery to many. But its pure entertainment value is not to be underestimated, in large part thanks to its cheeky line-drawings of perturbed-looking felines, penned by illustrator (and Pulley's girlfriend) \u003ca href=\"http://kelseybeyer.com\">Kelsey Beyer\u003c/a>.\u003c/p>\n\u003cp>Ahead of the book's launch, we caught up with Pulley by phone to talk lesbian stereotypes, the haiku renaissance, and the challenges of publishing a book with one's partner.\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>\u003cstrong>KQED Pop: You've mentioned that you think the haiku is having something of a revival in American culture at large right now. Where are you seeing that, and why do you think that's happening?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anna Pulley: \u003c/strong>I think its popularity sort of comes and goes. It was popular in the '60s due to the Beats -- Jack Kerouac and Gary Snyder both popularized them. But then, just in the last 10 years or so, we've had a kind of splurge of books: \u003cem>Hipster Haiku\u003c/em>,\u003cem> Zombie Haiku, Werewolf Haiku. \u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>I think Instagram is one huge reason people are paying attention right now. \u003ca href=\"http://www.nytimes.com/2015/11/08/business/media/web-poets-society-new-breed-succeeds-in-taking-verse-viral.html\" target=\"_blank\">Tyler Knott Greggson\u003c/a> writes haiku on Instagram and one of the Kardashians favorited one, so he sort of blew up overnight.\u003c/p>\n\u003caside class=\"pullquote alignright\">What a spirited flogging! Maybe next time no / GMO lecture?\u003c/aside>\n\u003cp>And then there's Twitter. I think because of our generation's sort of collective ADHD, our lack of attention span, [haiku] is appealing because they're short, digestible, and really easy to share.\u003c/p>\n\u003cfigure id=\"attachment_23169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-23169\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-800x1031.jpg\" alt=\"Anna Pulley (right) and illustrator Kelsey Beyer\" width=\"800\" height=\"1031\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-800x1031.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-1180x1521.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169-960x1238.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/culture2-1-a60aba166e8b5169.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Pulley (right) and illustrator Kelsey Beyer \u003ccite>(John Orvis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You touch on that in the book -- that your job was in social media during the time you started writing haikus frequently, that Twitter started played into your writing that way. \u003c/strong>\u003c/p>\n\u003cp>I think it definitely helped that I was doing social media, so I was very primed to have this short-form mentality. And then, you know, my life fell apart. I had writer's block, and I couldn't really claw my way out of it. Thinking in short, 17-syllable chunks was something I \u003cem>could\u003c/em> do.\u003c/p>\n\u003cp>The other thing that catalyzed it for me was falling in love with a married woman. [Laughs.] She lived across the country and we didn't get to see each other very often, so we had this message-based way of communicating with each other. We wrote hundreds of haikus back and forth, for years, communicating in this antiquated poetic form. And that really helped solidify the fact that I was going to be okay: I wasn't incapable of writing, and I wasn't this undesirable person.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-23172\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/B7aQWIMCcAAYFO8.jpg\" alt=\"B7aQWIMCcAAYFO8\" width=\"600\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/B7aQWIMCcAAYFO8.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/B7aQWIMCcAAYFO8-400x535.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>You play a lot in this book with stereotypes about lesbians -- and obviously, since you are gay, a lot of it just comes off as self-deprecating humor. But I'm curious if you were conscious, as you were writing, about where the line is between poking fun and perpetuating these kind of clichés? \u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Stereotypes are definitely something that have been on my mind. I was nervous I would be perpetuating stereotypes, that lesbians would be mad at me. But I also think that stereotypes are fascinating, and that they have a lot of subversive potential -- they force you to look at these underlying causes. Why does society think that lesbian bed death is a thing? There's been some research that shows lesbians have less \u003cem>frequent\u003c/em> sex, but it's longer. I think there are interesting questions within stereotypes about how we define ourselves as a community. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>It's also funny that probably one of the most common stereotypes is that lesbians are humorless, whereas this book... \u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was probably the biggest one that I was trying to counter. Obviously we can have a sense of humor, but historically, if you look at lesbians, we're probably protesting something as opposed to mocking it or celebrating it for its humor. \u003c/span>\u003c/p>\n\u003caside class=\"pullquote alignright\">It's like straight sex, but / with more slouchy blazers and / P!nk dance remixes.\u003c/aside>\n\u003cp>So then it's, okay, why do we have this legacy? Also, frankly, I embody a lot of lesbian stereotypes, and I think that's really funny. I'm not burdened by the fact that I own a truck, for instance.\u003c/p>\n\u003cfigure id=\"attachment_23173\" class=\"wp-caption aligncenter\" style=\"max-width: 659px\">\u003cimg class=\"size-full wp-image-23173\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/craigslistcat_w.jpg\" alt=\"Craigslist Cat. \" width=\"659\" height=\"540\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/craigslistcat_w.jpg 659w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/craigslistcat_w-400x328.jpg 400w\" sizes=\"(max-width: 659px) 100vw, 659px\">\u003cfigcaption class=\"wp-caption-text\">Craigslist Cat. \u003ccite>(Illustration by Kelsey Beyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before this was a book, it was a blog post on The Toast, and I remember reading the comments when it went up -- everyone was just so stoked by the combination of cats and haikus and lesbians. Were you surprised by the reaction to that post?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was surprised as hell. That first post is actually what got us a book deal -- the publisher at FlatIron saw it and got in touch. I didn't have a book proposal, I didn't have an agent. It was completely shocking. But also, I think lesbians are starting to have their time in the limelight -- it's not that weird to be a queer person in 2016, so I think there is a sense of, \"maybe it's time to learn.\" You know, maybe it's time to learn about Tofurkey and whatnot. But yeah, after that post, I wrote pretty much the whole thing in four months. \u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-23184\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/kitties.jpg\" alt=\"kitties\" width=\"471\" height=\"402\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/kitties.jpg 471w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/kitties-400x341.jpg 400w\" sizes=\"(max-width: 471px) 100vw, 471px\">\u003c/p>\n\u003cp>\u003cstrong>Tell me about having Kelsey illustrate the book -- what was it like to work on a book with your partner?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mostly great. We had a lot of fun together; creatively, we were very much on the same page. She was the one who came up with the cat concept to begin with. Wendy MacNaughton was going to illustrate the book but then she got too famous, so it was really helpful that I was dating an artist. Some of the haikus were written for her, or so she could draw certain things -- I'd be like, \"Right, this one's for you, I'll make a haiku about a long-haired butch and it'll involve John Stamos and it'll be great.\" Some of the financial stuff around the contract was tricky to iron out, to the point where we did wind up going to couples' therapy. Which is, of course, another lesbian stereotype. So that was also great. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>What's next for you two with promotion? Are you taking the cats on tour?\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[After the Bay Area events], I would love to go on a small-ish book tour to promote the lesbians and the cats -- New York, Chicago. And then \u003ca href=\"http://catconla.com/\">Cat Con\u003c/a> is happening in LA in June, so that should be...a whole other thing.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Is that, like, cat videos, or furries, or both?\u003c/strong>\u003c/p>\n\u003cp>I mean, can you have a cat festival without furries? I guess we'll find out.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Anna Pulley and Kelsey Beyer will appear at Pegasus Books in Berkeley this Thursday, April 28 at 7:30 pm. \u003ca href=\"https://www.facebook.com/events/1560388467622852/\" target=\"_blank\">More details here\u003c/a>. \u003c/em>\u003c/strong>\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> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/22716/what-do-haikus-lesbians-and-cats-have-in-common-ask-anna-pulley","authors":["7237"],"categories":["pop_1548"],"tags":["pop_2840"],"featImg":"pop_23174","label":"pop"},"pop_22861":{"type":"posts","id":"pop_22861","meta":{"index":"posts_1591205157","site":"pop","id":"22861","score":null,"sort":[1461290070000]},"guestAuthors":[],"slug":"hey-bay-area-heres-where-to-party-in-the-name-of-prince","title":"Hey Bay Area, Here's Where To Party In the Name of Prince","publishDate":1461290070,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Get out there, and get funky. It's what the Purple One would have wanted. ","status":"publish","parent":0,"modified":1461877640,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":381},"headData":{"title":"Hey Bay Area, Here's Where To Party In the Name of Prince | KQED","description":"Get out there, and get funky. It's what the Purple One would have wanted. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hey Bay Area, Here's Where To Party In the Name of Prince","datePublished":"2016-04-22T01:54:30.000Z","dateModified":"2016-04-28T21:07:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"22861 http://ww2.kqed.org/pop/?p=22861","disqusUrl":"https://ww2.kqed.org/pop/2016/04/21/hey-bay-area-heres-where-to-party-in-the-name-of-prince/","disqusTitle":"Hey Bay Area, Here's Where To Party In the Name of Prince","path":"/pop/22861/hey-bay-area-heres-where-to-party-in-the-name-of-prince","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\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>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/22861/hey-bay-area-heres-where-to-party-in-the-name-of-prince","authors":["7237"],"categories":["pop_131","pop_4"],"tags":["pop_2840","pop_529"],"featImg":"pop_22935","label":"pop"},"pop_22085":{"type":"posts","id":"pop_22085","meta":{"index":"posts_1591205157","site":"pop","id":"22085","score":null,"sort":[1460386813000]},"guestAuthors":[],"slug":"sex-drugs-and-equal-pay-wimmens-comix-get-their-due","title":"Sex, Drugs, and Equal Pay: ‘Wimmen’s Comix’ Get Their Due","publishDate":1460386813,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Underground comics enjoyed a golden age in the late ‘60s and early ‘70s, and the heady, weed-scented thrum of San Francisco was its heartbeat. R. Crumb’s gleefully filthy \u003cem>Zap Comix\u003c/em> premiered in 1968 with a sensibility that worshiped free love, satire and irreverence, and cartoonists like \u003cem>The Fabulous Furry Freak Brothers\u003c/em>’ Gilbert Shelton decided to move west to join in on the fun.\u003c/p>\n\u003cp>Trina Robbins, then a young cartoonist who’d already established herself in New York while drawing comics for underground newspapers, had no sense that her path should be any different when she arrived in the Bay Area in 1970.\u003c/p>\n\u003cfigure id=\"attachment_22252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-22252 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/trina-edit-800x600.gif\" alt=\"trina-edit\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-800x600.gif 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-400x300.gif 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-768x576.gif 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at home in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>“It was all so new and exciting. San Francisco was the mecca of the new underground comics scene,” recalls Robbins, now 77, during an interview at the artwork-filled Duboce Triangle home where she’s lived since 1975. “Unfortunately, when I got here, I discovered that the underground comics scene was a boys’ club.”\u003c/p>\n\u003cp>Her male contemporaries were polite in person, she says, but never quite invited her to their parties -- let alone asked her to collaborate on books with them. “It was ‘no girls allowed.’ I had to do something.”\u003c/p>\n\u003cp>So Robbins rounded up every female artist she could find in the Bay Area, and together, they threw their own damn party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22087\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.02.42 PM\" width=\"497\" height=\"714\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png 497w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM-400x575.png 400w\" sizes=\"(max-width: 497px) 100vw, 497px\">\u003c/p>\n\u003cp>\u003cem>It Ain’t Me, Babe\u003c/em>, published in July of 1970 by Ron Turner's Last Gasp imprint, was the first collection of comics entirely by women -- some of them women who had never drawn professionally before.\u003c/p>\n\u003cp>Nearly 50 years later, that pioneering 50-cent comic book full of stories about women, for women -- a comic book that helped upend the myth that “girls don’t like comics,” after it sold 40,000 copies in three printings -- serves as the perfect kickoff to \u003cem>The Complete Wimmen’s Comix\u003c/em>, a hefty new two-volume, full-color tome published in January by Fantagraphics.\u003c/p>\n\u003cfigure id=\"attachment_22099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22099\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg\" alt=\"The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\" width=\"800\" height=\"794\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-400x397.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-768x762.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-1180x1171.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-960x953.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\u003c/figcaption>\u003c/figure>\n\u003cp>The anthology contains all 17 issues of \u003cem>Wimmen’s Comix\u003c/em>, a serialized collection of comics that grew out of \u003cem>It Ain’t Me, Babe\u003c/em> and ran from 1972 to 1992, with a group of 10 women artists in the Bay Area taking turns as editor. Most of these issues have been out of print for decades, so this anthology will actually give them a second life.\u003c/p>\n\u003cp>Robbins, who penned the book's introduction, will appear at Green Apple Books on the Park in San Francisco this Tuesday, April 12 alongside fellow founding artists Lee Marrs, Sharon Rudahl, Caryn Leschen and Kay Rudin to discuss the book, their work, and its impact.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-medium wp-image-22090\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg\" alt=\"teenage-abortion\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-768x693.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1440x1299.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1920x1731.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1180x1064.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-960x866.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“We dealt with topics the guys would never, ever deal with,” says Robbins, pointing to first-person stories about back-alley abortions, domestic violence, and equal pay at work. Of course, the women characters of \u003cem>Wimmen’s Comix\u003c/em> have their share of happily casual sex, drugs, and rock ‘n’ roll as well. Conspicuously absent: the preposterously proportioned, overly sexualized and ornamental women so often found in comics by men.\u003c/p>\n\u003cp>“In the early ‘70s, many of the guys’ comics were very misogynistic,” says Robbins. “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_22207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22207\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg\" alt=\"Lee Marrs\" width=\"800\" height=\"1135\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1.jpg 874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee Marrs\u003c/figcaption>\u003c/figure>\n\u003cp>Founding artist Lee Marrs would become well-known for her character and series \u003cem>\u003ca href=\"http://comixjoint.com/pudgegirlblimp.html\" target=\"_blank\" rel=\"noopener\">Pudge, Girl Blimp\u003c/a> -- \u003c/em>in which our protagonist is an awkward, overweight teenage runaway from the Midwest who lands in San Francisco and begins experimenting with drugs, sex, and commune life. Marrs often drew her happily gorging on food.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"You could draw anything you wanted, you could write anything you wanted. It was a liberating experience -- underground comics seemed wonderful,\" says Marrs, whom Robbins introduced to the underground scene around 1971. \"The fact that there was absolutely no money in it wasn't really clear yet.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22091\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-800x1162.jpg\" alt=\""All In a Day's Work," by Lee Marrs.\" width=\"800\" height=\"1162\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-400x581.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-768x1116.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"All In a Day's Work,\" by Lee Marrs.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally a political cartoonist who aspired to work for a major newspaper, Marrs found fairly soon after college that not one editor would return her calls. She did graphics work instead, and helped found Berkeley's independent journalism organization the Alternative Feature Service. But \"there were just no women political cartoonists in the United States,\" recalls Marrs, now 70, adding that she chalks her freelance successes in that arena up to \"having an ambisexual name.\"\u003c/span>\u003c/p>\n\u003cp>With \u003cem>Wimmen's Comix\u003c/em>, there were no cliques, no unspoken rules: Each issue had a loose theme (Outlaws, The Occult, Disastrous Relationships -- even a 3-D edition.) In each issue, roughly half the book was reserved for any woman who wanted in; the collective solicited contributions on the back page. And every month the editors would meet at someone's house to sift through the submissions.\u003c/p>\n\u003cp>\"It was a lot of work,\" recalls Marrs. \"But \u003cem>Wimmen's Comix\u003c/em> meetings were also where I was introduced to getting stoned [from] brownies. Those made the meetings go really quickly.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22086\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.00.09 PM\" width=\"508\" height=\"711\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png 508w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM-400x560.png 400w\" sizes=\"(max-width: 508px) 100vw, 508px\">\u003c/p>\n\u003cp>Of course, the collective had barely published three issues before they started getting pushback -- from all sides. Alongside commentary from the comics’ creators, the anthology contains excerpts of brutally hilarious hate mail the women received at their P.O. box in Berkeley.\u003c/p>\n\u003cp>“Dear FBI,” begins one letter. “You can’t fool us. Who are you kidding? We see thru your trying to undermine the women’s/Lesbian Movement. We expose you for the dirty filthy infiltrators you are.” There were those in the women’s lib movement who were angry at the spelling of “Wimmen,” Robbins explains -- they wanted the word “men” out of it entirely. (That particular letter was signed “Moonbeam, Labyris [and] Sparkling Star.”)\u003c/p>\n\u003cfigure id=\"attachment_22201\" class=\"wp-caption aligncenter\" style=\"max-width: 786px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmenscomix.png\" alt=\"Self-portraits of the founding members of Wimmen's Comix, as appeared in issue #1.\" width=\"786\" height=\"604\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix.png 786w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-400x307.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-768x590.png 768w\" sizes=\"(max-width: 786px) 100vw, 786px\">\u003cfigcaption class=\"wp-caption-text\">Self-portraits of the founding members of Wimmen's Comix, as they appeared in issue #1.\u003c/figcaption>\u003c/figure>\n\u003cp>Then there were more concrete hurdles, like the 1973 Supreme Court obscenity ruling that left some booksellers fearful of comics that could be interpreted as pornography, and led \u003cem>Ms. Magazine\u003c/em> to reject \u003cem>Wimmen’s Comix\u003c/em> bid for ad space entirely.\u003c/p>\n\u003cp>In short, the anthology is more than a snapshot of a marginalized community demanding acknowledgment. It’s documentation of a dynamic, often messy movement -- missteps, growing pains and all.\u003c/p>\n\u003cp>The lack of diversity among editors and contributors, for example, is tough to ignore in 2016. “It was all straight, white women,” admits Robbins matter-of-factly. While the submissions became distinctly more professional with each passing year, their creators were still by and large homogenous.\u003c/p>\n\u003cp>“We were called hetero-sexists because we didn’t have any lesbians...until Roberta Gregory sent something in 1974,\" says Robbins, recalling that milestone issue.\u003c/p>\n\u003cp>\"But, \" she insists, \"we just never got any submissions from women of color.” Edna Jundis, a Filipina woman whose work appeared in a handful of issues and drew one cover, was the lone exception Robbins could recall.\u003c/p>\n\u003cfigure id=\"attachment_22193\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22193\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Wimmenscomics02.jpg\" alt=\"Wimmen's Comix cover art by Edna Jundis.\" width=\"300\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Wimmen's Comix cover art by Edna Jundis.\u003c/figcaption>\u003c/figure>\n\u003cp>As comics grew into the mainstream as an art form over the course of the '90s and early aughts, so did female artists' representation in the field.\u003c/p>\n\u003cp>After a second wave of editors took the lead, later editions of \u003cem>Wimmen's Comix\u003c/em> featured work by a young \u003ca href=\"https://www.drawnandquarterly.com/author/lynda-barry\" target=\"_blank\" rel=\"noopener\">Lynda Barry\u003c/a>; Alison Bechdel, whose graphic memoir \u003cem>Fun Home\u003c/em> is currently a smash-hit Broadway show touted as the first mainstream musical about a lesbian; and Phoebe Gloeckner, whose semi-autobiographical novel \u003cem>The Diary of a Teenage Girl\u003c/em> was made into a critically acclaimed film last year.\u003c/p>\n\u003cfigure id=\"attachment_22204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22204\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg\" alt=\"Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1440x720.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\u003c/figcaption>\u003c/figure>\n\u003cp>Then, of course, there are the young women artists still on their way up -- women who frequently contact Trina Robbins and Lee Marrs via email and Facebook, who travel to meet them at comics conventions.\u003c/p>\n\u003cp>\"It's\u003cspan style=\"font-weight: 400\"> been really inspiring over the years,\" says Marrs. \"To hear that they’ve been inspired to actually do this work by things they saw us do first -- it really gives you a lift on the low days, when you’re thinking about the presidential campaigns and whatnot.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22095\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22095\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg\" alt='\"Men,\" by Carol Tyler' width=\"600\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">\"Men,\" by Carol Tyler\u003c/figcaption>\u003c/figure>\n\u003cp>And on days like the one earlier this year, when the Angoulême International Comics Festival announced its 30 nominees for the grand prize, the highest honor in comics, and \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">not one of them was a woman?\u003c/a> (Festival CEO Franck Bondoux said, by way of explanation, that \"there are few women in the history of comics art.\")\u003c/p>\n\u003cp>\"Unbelievable nonsense. It's like they're wearing blinders. The Angoulême guys are Neanderthals,\" says Robbins. \"Actually, Neanderthals do have some intelligence. They're dinosaurs.\"\u003c/p>\n\u003cp>And, like dinosaurs, she points out, the old men currently in charge of that prize won't be around forever. Unfortunately, neither will she. \"I don't know if I'll live to see a day when they're all gone and I'm cackling, still surviving.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimminslipcase.png\" alt=\"wimminslipcase\" width=\"400\" height=\"547\">\u003c/p>\n\u003cp>In the meantime: \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Welcome.html\" target=\"_blank\" rel=\"noopener\">From her blog\u003c/a> to the books she's penned about \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Lily_Ren%C3%A9e.html\" target=\"_blank\" rel=\"noopener\">other comics pioneers\u003c/a>, Robbins has devoted her life to celebrating the talented and successful women in her field -- loudly. There are just so many, says the artist, adding that she hopes this anthology will be studied in university classrooms long after she's gone.\u003c/p>\n\u003cp>And if anyone had told Trina Robbins what the next 45 years would bring, on that day in 1970 when she got fed up with the boys' club and decided to call a bunch of girls up instead?\u003c/p>\n\u003cp>\"I would be stunned.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Artists Trina Robbins, Sharon Rudahl, Lee Marrs, Caryn Leschen, and Kay Rudin will discuss\u003c/em> The Complete Wimmen's Comix\u003cem> at \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-complete-wimmens-comix\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a> in San Francisco this Tuesday, April 12 at 7:30 pm. \u003ca href=\"https://www.facebook.com/events/1691317574418205/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a new anthology and an appearance at Green Apple Books on the Park, San Francisco's pioneers of underground feminist comics celebrate 45 years of bucking the boys' club.","status":"publish","parent":0,"modified":1680635260,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":1762},"headData":{"title":"Sex, Drugs, and Equal Pay: ‘Wimmen’s Comix’ Get Their Due | KQED","description":"With a new anthology and an appearance at Green Apple Books on the Park, San Francisco's pioneers of underground feminist comics celebrate 45 years of bucking the boys' club.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sex, Drugs, and Equal Pay: ‘Wimmen’s Comix’ Get Their Due","datePublished":"2016-04-11T15:00:13.000Z","dateModified":"2023-04-04T19:07:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Underground comics enjoyed a golden age in the late ‘60s and early ‘70s, and the heady, weed-scented thrum of San Francisco was its heartbeat. R. Crumb’s gleefully filthy \u003cem>Zap Comix\u003c/em> premiered in 1968 with a sensibility that worshiped free love, satire and irreverence, and cartoonists like \u003cem>The Fabulous Furry Freak Brothers\u003c/em>’ Gilbert Shelton decided to move west to join in on the fun.\u003c/p>\n\u003cp>Trina Robbins, then a young cartoonist who’d already established herself in New York while drawing comics for underground newspapers, had no sense that her path should be any different when she arrived in the Bay Area in 1970.\u003c/p>\n\u003cfigure id=\"attachment_22252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-22252 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/trina-edit-800x600.gif\" alt=\"trina-edit\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-800x600.gif 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-400x300.gif 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-768x576.gif 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at home in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>“It was all so new and exciting. San Francisco was the mecca of the new underground comics scene,” recalls Robbins, now 77, during an interview at the artwork-filled Duboce Triangle home where she’s lived since 1975. “Unfortunately, when I got here, I discovered that the underground comics scene was a boys’ club.”\u003c/p>\n\u003cp>Her male contemporaries were polite in person, she says, but never quite invited her to their parties -- let alone asked her to collaborate on books with them. “It was ‘no girls allowed.’ I had to do something.”\u003c/p>\n\u003cp>So Robbins rounded up every female artist she could find in the Bay Area, and together, they threw their own damn party.\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>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22087\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.02.42 PM\" width=\"497\" height=\"714\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png 497w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM-400x575.png 400w\" sizes=\"(max-width: 497px) 100vw, 497px\">\u003c/p>\n\u003cp>\u003cem>It Ain’t Me, Babe\u003c/em>, published in July of 1970 by Ron Turner's Last Gasp imprint, was the first collection of comics entirely by women -- some of them women who had never drawn professionally before.\u003c/p>\n\u003cp>Nearly 50 years later, that pioneering 50-cent comic book full of stories about women, for women -- a comic book that helped upend the myth that “girls don’t like comics,” after it sold 40,000 copies in three printings -- serves as the perfect kickoff to \u003cem>The Complete Wimmen’s Comix\u003c/em>, a hefty new two-volume, full-color tome published in January by Fantagraphics.\u003c/p>\n\u003cfigure id=\"attachment_22099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22099\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg\" alt=\"The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\" width=\"800\" height=\"794\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-400x397.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-768x762.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-1180x1171.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-960x953.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\u003c/figcaption>\u003c/figure>\n\u003cp>The anthology contains all 17 issues of \u003cem>Wimmen’s Comix\u003c/em>, a serialized collection of comics that grew out of \u003cem>It Ain’t Me, Babe\u003c/em> and ran from 1972 to 1992, with a group of 10 women artists in the Bay Area taking turns as editor. Most of these issues have been out of print for decades, so this anthology will actually give them a second life.\u003c/p>\n\u003cp>Robbins, who penned the book's introduction, will appear at Green Apple Books on the Park in San Francisco this Tuesday, April 12 alongside fellow founding artists Lee Marrs, Sharon Rudahl, Caryn Leschen and Kay Rudin to discuss the book, their work, and its impact.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-medium wp-image-22090\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg\" alt=\"teenage-abortion\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-768x693.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1440x1299.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1920x1731.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1180x1064.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-960x866.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“We dealt with topics the guys would never, ever deal with,” says Robbins, pointing to first-person stories about back-alley abortions, domestic violence, and equal pay at work. Of course, the women characters of \u003cem>Wimmen’s Comix\u003c/em> have their share of happily casual sex, drugs, and rock ‘n’ roll as well. Conspicuously absent: the preposterously proportioned, overly sexualized and ornamental women so often found in comics by men.\u003c/p>\n\u003cp>“In the early ‘70s, many of the guys’ comics were very misogynistic,” says Robbins. “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_22207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22207\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg\" alt=\"Lee Marrs\" width=\"800\" height=\"1135\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1.jpg 874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee Marrs\u003c/figcaption>\u003c/figure>\n\u003cp>Founding artist Lee Marrs would become well-known for her character and series \u003cem>\u003ca href=\"http://comixjoint.com/pudgegirlblimp.html\" target=\"_blank\" rel=\"noopener\">Pudge, Girl Blimp\u003c/a> -- \u003c/em>in which our protagonist is an awkward, overweight teenage runaway from the Midwest who lands in San Francisco and begins experimenting with drugs, sex, and commune life. Marrs often drew her happily gorging on food.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"You could draw anything you wanted, you could write anything you wanted. It was a liberating experience -- underground comics seemed wonderful,\" says Marrs, whom Robbins introduced to the underground scene around 1971. \"The fact that there was absolutely no money in it wasn't really clear yet.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22091\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-800x1162.jpg\" alt=\""All In a Day's Work," by Lee Marrs.\" width=\"800\" height=\"1162\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-400x581.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-768x1116.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"All In a Day's Work,\" by Lee Marrs.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally a political cartoonist who aspired to work for a major newspaper, Marrs found fairly soon after college that not one editor would return her calls. She did graphics work instead, and helped found Berkeley's independent journalism organization the Alternative Feature Service. But \"there were just no women political cartoonists in the United States,\" recalls Marrs, now 70, adding that she chalks her freelance successes in that arena up to \"having an ambisexual name.\"\u003c/span>\u003c/p>\n\u003cp>With \u003cem>Wimmen's Comix\u003c/em>, there were no cliques, no unspoken rules: Each issue had a loose theme (Outlaws, The Occult, Disastrous Relationships -- even a 3-D edition.) In each issue, roughly half the book was reserved for any woman who wanted in; the collective solicited contributions on the back page. And every month the editors would meet at someone's house to sift through the submissions.\u003c/p>\n\u003cp>\"It was a lot of work,\" recalls Marrs. \"But \u003cem>Wimmen's Comix\u003c/em> meetings were also where I was introduced to getting stoned [from] brownies. Those made the meetings go really quickly.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22086\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.00.09 PM\" width=\"508\" height=\"711\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png 508w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM-400x560.png 400w\" sizes=\"(max-width: 508px) 100vw, 508px\">\u003c/p>\n\u003cp>Of course, the collective had barely published three issues before they started getting pushback -- from all sides. Alongside commentary from the comics’ creators, the anthology contains excerpts of brutally hilarious hate mail the women received at their P.O. box in Berkeley.\u003c/p>\n\u003cp>“Dear FBI,” begins one letter. “You can’t fool us. Who are you kidding? We see thru your trying to undermine the women’s/Lesbian Movement. We expose you for the dirty filthy infiltrators you are.” There were those in the women’s lib movement who were angry at the spelling of “Wimmen,” Robbins explains -- they wanted the word “men” out of it entirely. (That particular letter was signed “Moonbeam, Labyris [and] Sparkling Star.”)\u003c/p>\n\u003cfigure id=\"attachment_22201\" class=\"wp-caption aligncenter\" style=\"max-width: 786px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmenscomix.png\" alt=\"Self-portraits of the founding members of Wimmen's Comix, as appeared in issue #1.\" width=\"786\" height=\"604\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix.png 786w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-400x307.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-768x590.png 768w\" sizes=\"(max-width: 786px) 100vw, 786px\">\u003cfigcaption class=\"wp-caption-text\">Self-portraits of the founding members of Wimmen's Comix, as they appeared in issue #1.\u003c/figcaption>\u003c/figure>\n\u003cp>Then there were more concrete hurdles, like the 1973 Supreme Court obscenity ruling that left some booksellers fearful of comics that could be interpreted as pornography, and led \u003cem>Ms. Magazine\u003c/em> to reject \u003cem>Wimmen’s Comix\u003c/em> bid for ad space entirely.\u003c/p>\n\u003cp>In short, the anthology is more than a snapshot of a marginalized community demanding acknowledgment. It’s documentation of a dynamic, often messy movement -- missteps, growing pains and all.\u003c/p>\n\u003cp>The lack of diversity among editors and contributors, for example, is tough to ignore in 2016. “It was all straight, white women,” admits Robbins matter-of-factly. While the submissions became distinctly more professional with each passing year, their creators were still by and large homogenous.\u003c/p>\n\u003cp>“We were called hetero-sexists because we didn’t have any lesbians...until Roberta Gregory sent something in 1974,\" says Robbins, recalling that milestone issue.\u003c/p>\n\u003cp>\"But, \" she insists, \"we just never got any submissions from women of color.” Edna Jundis, a Filipina woman whose work appeared in a handful of issues and drew one cover, was the lone exception Robbins could recall.\u003c/p>\n\u003cfigure id=\"attachment_22193\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22193\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Wimmenscomics02.jpg\" alt=\"Wimmen's Comix cover art by Edna Jundis.\" width=\"300\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Wimmen's Comix cover art by Edna Jundis.\u003c/figcaption>\u003c/figure>\n\u003cp>As comics grew into the mainstream as an art form over the course of the '90s and early aughts, so did female artists' representation in the field.\u003c/p>\n\u003cp>After a second wave of editors took the lead, later editions of \u003cem>Wimmen's Comix\u003c/em> featured work by a young \u003ca href=\"https://www.drawnandquarterly.com/author/lynda-barry\" target=\"_blank\" rel=\"noopener\">Lynda Barry\u003c/a>; Alison Bechdel, whose graphic memoir \u003cem>Fun Home\u003c/em> is currently a smash-hit Broadway show touted as the first mainstream musical about a lesbian; and Phoebe Gloeckner, whose semi-autobiographical novel \u003cem>The Diary of a Teenage Girl\u003c/em> was made into a critically acclaimed film last year.\u003c/p>\n\u003cfigure id=\"attachment_22204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22204\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg\" alt=\"Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1440x720.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\u003c/figcaption>\u003c/figure>\n\u003cp>Then, of course, there are the young women artists still on their way up -- women who frequently contact Trina Robbins and Lee Marrs via email and Facebook, who travel to meet them at comics conventions.\u003c/p>\n\u003cp>\"It's\u003cspan style=\"font-weight: 400\"> been really inspiring over the years,\" says Marrs. \"To hear that they’ve been inspired to actually do this work by things they saw us do first -- it really gives you a lift on the low days, when you’re thinking about the presidential campaigns and whatnot.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22095\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22095\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg\" alt='\"Men,\" by Carol Tyler' width=\"600\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">\"Men,\" by Carol Tyler\u003c/figcaption>\u003c/figure>\n\u003cp>And on days like the one earlier this year, when the Angoulême International Comics Festival announced its 30 nominees for the grand prize, the highest honor in comics, and \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">not one of them was a woman?\u003c/a> (Festival CEO Franck Bondoux said, by way of explanation, that \"there are few women in the history of comics art.\")\u003c/p>\n\u003cp>\"Unbelievable nonsense. It's like they're wearing blinders. The Angoulême guys are Neanderthals,\" says Robbins. \"Actually, Neanderthals do have some intelligence. They're dinosaurs.\"\u003c/p>\n\u003cp>And, like dinosaurs, she points out, the old men currently in charge of that prize won't be around forever. Unfortunately, neither will she. \"I don't know if I'll live to see a day when they're all gone and I'm cackling, still surviving.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimminslipcase.png\" alt=\"wimminslipcase\" width=\"400\" height=\"547\">\u003c/p>\n\u003cp>In the meantime: \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Welcome.html\" target=\"_blank\" rel=\"noopener\">From her blog\u003c/a> to the books she's penned about \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Lily_Ren%C3%A9e.html\" target=\"_blank\" rel=\"noopener\">other comics pioneers\u003c/a>, Robbins has devoted her life to celebrating the talented and successful women in her field -- loudly. There are just so many, says the artist, adding that she hopes this anthology will be studied in university classrooms long after she's gone.\u003c/p>\n\u003cp>And if anyone had told Trina Robbins what the next 45 years would bring, on that day in 1970 when she got fed up with the boys' club and decided to call a bunch of girls up instead?\u003c/p>\n\u003cp>\"I would be stunned.\"\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>Artists Trina Robbins, Sharon Rudahl, Lee Marrs, Caryn Leschen, and Kay Rudin will discuss\u003c/em> The Complete Wimmen's Comix\u003cem> at \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-complete-wimmens-comix\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a> in San Francisco this Tuesday, April 12 at 7:30 pm. \u003ca href=\"https://www.facebook.com/events/1691317574418205/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due","authors":["7237"],"categories":["pop_1548"],"tags":["pop_2840"],"featImg":"pop_22213","label":"pop"},"pop_21675":{"type":"posts","id":"pop_21675","meta":{"index":"posts_1591205157","site":"pop","id":"21675","score":null,"sort":[1459459817000]},"guestAuthors":[],"slug":"sfs-most-underrated-holiday-dumb-on-down-to-the-st-stupids-day-parade","title":"SF's Most Underrated Holiday: Dumb on Down to the St. Stupid's Day Parade","publishDate":1459459817,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>San Francisco is still a terrifically irreverent city, despite the near-deafening chorus of those who would have you believe otherwise, and -- if you know where to look -- there are still pockets of weirdo magic tucked all over the map.\u003c/p>\n\u003cp>The Financial District is not usually one of those places. Here is a little story about the FiDi: When I worked in the FiDi, I would hurry home from the office each evening like I was escaping the jaws of death.\u003c/p>\n\u003cp>There is one day per year, however, when the continuous gray of the office buildings is interrupted by a bang of color and noise, in what I'm going to argue here is the most San Franciscan holiday of them all. Forget Bay to Breakers. All hail St. Stupid's Day.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-21718\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg\" alt=\"slide_218353_835462_free\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The annual St. Stupid's Day Parade, held each year on April 1st, is a march through the most typically serious, businesslike part of our fair city -- and it's a celebration whose entire objective is to take the wind out of all things serious and businesslike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in its 38th year, the parade was founded by retired SF Mime Troupe mainstay Ed Holmes, aka Bishop Joey of the First Church of the Last Laugh. \u003ca href=\"http://www.saintstupid.com/faq.html\" target=\"_blank\">The church's website\u003c/a>, if you're in need of a laugh, offers a helpful FAQ section with tidbits like \"...the one thing that unites the species across all differences of color, creed, nationality, zip code and beverage preference is stupidity.\" Can't argue with that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Xr6LyMD0x2E\u003c/p>\n\u003cp>As for the parade itself: Since it falls on a weekday, it will start around noon at the foot of Market Street (Justin Herman Plaza), then continue throughout the Financial District with stops at the Stock Exchange (where participants are encouraged to bring and trade one's solo socks, \"the sock exchange,\" GET IT?) -- the \"Banker's Heart\" sculpture (where paraders are encouraged to throw pennies), the \"Tomb of Stupid\" (the office building at 101 California), the Federal Reserve Headquarters (bring losing lottery tickets to toss), and more.\u003c/p>\n\u003cp>No tickets, no VIP bullsh*t, no nothin. Just good old-fashioned debauchery. Costumes, instruments and accessories -- especially those that mock \"the business of religion or the religion of business\" -- are highly encouraged.\u003c/p>\n\u003cp>And if you're one of the many hapless souls in the city who's a freak at heart but has to suffer in a businessperson costume all day? Your attendance is \u003cem>extra\u003c/em> encouraged -- nay, required. Please leave your cufflinks and company card at the door.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"April Fools' Day is fun everywhere -- but San Francisco has its own, vastly underrated spin. ","status":"publish","parent":0,"modified":1459551941,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":442},"headData":{"title":"SF's Most Underrated Holiday: Dumb on Down to the St. Stupid's Day Parade | KQED","description":"April Fools' Day is fun everywhere -- but San Francisco has its own, vastly underrated spin. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF's Most Underrated Holiday: Dumb on Down to the St. Stupid's Day Parade","datePublished":"2016-03-31T21:30:17.000Z","dateModified":"2016-04-01T23:05:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"21675 http://ww2.kqed.org/pop/?p=21675","disqusUrl":"https://ww2.kqed.org/pop/2016/03/31/sfs-most-underrated-holiday-dumb-on-down-to-the-st-stupids-day-parade/","disqusTitle":"SF's Most Underrated Holiday: Dumb on Down to the St. Stupid's Day Parade","path":"/pop/21675/sfs-most-underrated-holiday-dumb-on-down-to-the-st-stupids-day-parade","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is still a terrifically irreverent city, despite the near-deafening chorus of those who would have you believe otherwise, and -- if you know where to look -- there are still pockets of weirdo magic tucked all over the map.\u003c/p>\n\u003cp>The Financial District is not usually one of those places. Here is a little story about the FiDi: When I worked in the FiDi, I would hurry home from the office each evening like I was escaping the jaws of death.\u003c/p>\n\u003cp>There is one day per year, however, when the continuous gray of the office buildings is interrupted by a bang of color and noise, in what I'm going to argue here is the most San Franciscan holiday of them all. Forget Bay to Breakers. All hail St. Stupid's Day.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-21718\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg\" alt=\"slide_218353_835462_free\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free-960x638.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/slide_218353_835462_free.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The annual St. Stupid's Day Parade, held each year on April 1st, is a march through the most typically serious, businesslike part of our fair city -- and it's a celebration whose entire objective is to take the wind out of all things serious and businesslike.\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>Now in its 38th year, the parade was founded by retired SF Mime Troupe mainstay Ed Holmes, aka Bishop Joey of the First Church of the Last Laugh. \u003ca href=\"http://www.saintstupid.com/faq.html\" target=\"_blank\">The church's website\u003c/a>, if you're in need of a laugh, offers a helpful FAQ section with tidbits like \"...the one thing that unites the species across all differences of color, creed, nationality, zip code and beverage preference is stupidity.\" Can't argue with that.\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/Xr6LyMD0x2E'\n title='//www.youtube.com/embed/Xr6LyMD0x2E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for the parade itself: Since it falls on a weekday, it will start around noon at the foot of Market Street (Justin Herman Plaza), then continue throughout the Financial District with stops at the Stock Exchange (where participants are encouraged to bring and trade one's solo socks, \"the sock exchange,\" GET IT?) -- the \"Banker's Heart\" sculpture (where paraders are encouraged to throw pennies), the \"Tomb of Stupid\" (the office building at 101 California), the Federal Reserve Headquarters (bring losing lottery tickets to toss), and more.\u003c/p>\n\u003cp>No tickets, no VIP bullsh*t, no nothin. Just good old-fashioned debauchery. Costumes, instruments and accessories -- especially those that mock \"the business of religion or the religion of business\" -- are highly encouraged.\u003c/p>\n\u003cp>And if you're one of the many hapless souls in the city who's a freak at heart but has to suffer in a businessperson costume all day? Your attendance is \u003cem>extra\u003c/em> encouraged -- nay, required. Please leave your cufflinks and company card at the door.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/21675/sfs-most-underrated-holiday-dumb-on-down-to-the-st-stupids-day-parade","authors":["7237"],"categories":["pop_46"],"tags":["pop_2840","pop_2841"],"featImg":"pop_21712","label":"pop"},"pop_21265":{"type":"posts","id":"pop_21265","meta":{"index":"posts_1591205157","site":"pop","id":"21265","score":null,"sort":[1458572426000]},"guestAuthors":[],"slug":"daniel-clowes-on-time-travel-a-changing-oakland-and-patience","title":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'","publishDate":1458572426,"format":"image","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ","status":"publish","parent":0,"modified":1461877503,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":47,"wordCount":3359},"headData":{"title":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience' | KQED","description":"On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'","datePublished":"2016-03-21T15:00:26.000Z","dateModified":"2016-04-28T21:05:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"21265 http://ww2.kqed.org/pop/?p=21265","disqusUrl":"https://ww2.kqed.org/pop/2016/03/21/daniel-clowes-on-time-travel-a-changing-oakland-and-patience/","disqusTitle":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'","path":"/pop/21265/daniel-clowes-on-time-travel-a-changing-oakland-and-patience","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\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>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \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>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/21265/daniel-clowes-on-time-travel-a-changing-oakland-and-patience","authors":["7237"],"categories":["pop_1548"],"tags":["pop_2840","pop_965","pop_966"],"featImg":"pop_21271","label":"pop"},"pop_21177":{"type":"posts","id":"pop_21177","meta":{"index":"posts_1591205157","site":"pop","id":"21177","score":null,"sort":[1457967659000]},"guestAuthors":[],"slug":"emily-heller-on-swifties-womens-history-month-and-never-reading-the-comments","title":"Emily Heller on Swifties, Women's History Month, and Never Reading the Comments","publishDate":1457967659,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>The first time I saw Emily Heller's sweetly acerbic, totally self-deprecating, 100 percent hilarious standup, it was in 2013, with her debut on \u003cem>Conan -- \u003c/em>and at the risk of sounding over-the-top, it felt triumphant. This was pre-\u003cem>Broad City\u003c/em>, mind you; regular girls who were dorky, smoked weed, and called the world like they saw it were not exactly the talk of the televised town.\u003cbr>\n[contextly_sidebar id=\"29btwdHV680jjo2JVHeQiJPsq7xq7Cgd\"]\u003c/p>\n\u003cp>Fast forward just three years, and Heller, an Alameda native and UC Santa Cruz alum who now lives in LA, is enjoying a well-deserved rise to fame. Her acting and writing credits include \u003cem>Inside Amy Schumer, Chelsea Lately, BoJack Horseman, Ground Floor \u003c/em>and more, while her first album, \u003cem>\u003ca href=\"https://emilyheller.bandcamp.com/album/good-for-her\" target=\"_blank\">Good For Her\u003c/a>\u003c/em>, was released by Kill Rockstars in November.\u003c/p>\n\u003cp>Heller returns home to do three nights at the Punch Line in San Francisco next week, March 17 - 19, as she has many times before, for the club's slate of all-female lineups for Women's History Month. So we called her up to chat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d1gRMTFZLSY\u003c/p>\n\u003cp>\u003cstrong>KQED Pop:\u003c/strong> Happy Women’s History Month! How are you celebrating?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Emily Heller:\u003c/strong> Thank you! Well, it’s one of those things where like, there’s not a Women’s History Month \u003cem>festival\u003c/em>, right? Lilith Fair is in the summer, so I don’t know what the other traditions are.\u003c/p>\n\u003cp>I mean, look, it’s the broadest category in the world, it’s half the people on the planet. But the Punch Line show...it is nice, as a comedian, that Women’s History Month is there once a year to say “Hey, here’s a way to market this.” It's great that they do all-women features. I think a lot of people don’t like all-female lineups, but I can say that as a performer, nothing makes me feel like women onstage are diverse than having us be the only ones up there. Because you do get kind of freed from feeling like you’re representing your gender, which can happen when you’re the only female comic in a lineup.\u003c/p>\n\u003cp>\u003cstrong>You have \u003ca href=\"http://www.cc.com/video-clips/zv6u26/john-oliver-s-new-york-stand-up-show-feminism-is-not-very-fun\" target=\"_blank\">a bit on the album about feminism\u003c/a> and its marketing problem, and I know you've been doing it for a while. I’m curious if and how that joke has changed over the years?\u003c/strong>\u003c/p>\n\u003cp>When I wrote that joke, I wasn’t thinking about ‘Oh, I’m gonna talk about something that’s gonna be really divisive.’ I had just started standup, just moved to San Francisco after being at UC Santa Cruz, and the thought didn’t cross my mind that talking about [feminism] would be weird to anyone. It is interesting, because in the years since I first started telling that joke, it’s gotten harder and harder to perform it, and that’s great, because it’s a joke that contends with people having trouble with the idea of feminism. It’s getting destigmatized by our culture now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mph1plzp1_Y\u003c/p>\n\u003cp>\u003cstrong>You did an installment of \u003ca href=\"http://www.avclub.com/article/emily-heller-taylor-swifts-slut-shaming-you-belong-227958\" target=\"_blank\">The \u003c/a>\u003ca href=\"http://www.avclub.com/article/emily-heller-taylor-swifts-slut-shaming-you-belong-227958\" target=\"_blank\">AV Club’s HateSong\u003c/a>, where you talked about how Taylor Swift’s “You Belong With Me” drives you crazy. Because it’s Taylor Swift, and because it’s the Internet, I’m assuming you got a ton of sh*t for that?\u003c/strong>\u003c/p>\n\u003cp>I got \u003cem>so\u003c/em> much sh*t for that. I’m less careful with my words in a phone interview than I am in person, so I felt kinda bad about the way some things were worded. Having said that, I still think that song is, like, brutally anti-feminist. I do hate it for that reason. \u003cem>That\u003c/em> said, I do sing along to it when it comes on, and I do love that she’s giving Kesha money right now. I love that feminism is now a commercially viable position for pop stars to take.\u003c/p>\n\u003cp>\u003cstrong>So what did you hear from the Swifties?\u003c/strong>\u003c/p>\n\u003cp>Oh, they came after me on Instagram. They came after me on Twitter. One of them pretended to be me on Twitter -- they started a fake Emily Heller Twitter account, and it was very confusing because they kept switching from speaking in the first person to the third person. I got them suspended so I can’t look it up, and I don’t remember the exact wording but it was, like, stuff about how I’ll s**k a d**k for 25 cents.\u003c/p>\n\u003cp>\u003cstrong>Wow.\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah. It was tight. I was like, wow, they really nailed my brand. How is anyone gonna know this isn’t me?\u003c/p>\n\u003cp>\u003cstrong>Do you have a thick skin for that kind of thing, having been in the public eye for a bit now? It seems like an unfortunate reality for women whose work is on the Internet. \u003c/strong>\u003c/p>\n\u003cp>No, I’m a sensitive little flower. I mean, I act kinda tough, and I know objectively that most people on the Internet are doing an impression of themselves at their worst, so I know better than to take it seriously. At the same time, that stuff will keep me up at night. Any clip on the Internet of a woman doing standup is gonna have comments on it saying “women aren’t funny,” and it’s just tiresome. What I take harder is people I respect -- if someone smart is disagreeing with me on something. I didn’t care about the Taylor Swift fans who got mad at me for that article; they were at least taking me the right way. But if someone is thinking I’m anti-feminist?\u003c/p>\n\u003cp>It’s really hard for me to deal with Internet comments. I stopped reading YouTube comments years ago; I installed a blocker because I don't even have the self-control not to read them. I do feel like being a little bit more public has kind of motivated me to check out of the national conversation at times, which could be good and could be bad. There are days when I feel like I can handle seeing how horrible the world is and days when I can’t -- I kind of think every time you sign into the Internet, you should be able to opt out of different things based on how capable you feel that day. Like “yes, I can handle that,” or “no, I can’t, just show me puppies.”\u003c/p>\n\u003cp>\u003cstrong>I would use that. That would do really well.\u003c/strong>\u003c/p>\n\u003cp>Silicon Valley! I know you’re reading this. Someone out there with money: Let’s make it happen.\u003c/p>\n\u003cp>\u003cstrong>I saw you open for \u003cem>Broad City\u003c/em> when they were in San Francisco with their live show in 2014. How did that come about?\u003c/strong>\u003c/p>\n\u003cp>I love those girls a lot, and that is quite possibly my favorite show on television. They knew I was gonna be in town for Thanksgiving, so it worked out. It has been really cool to see how much people are responding to that show -- I remember it wasn’t that long ago that if you wanted to sell a show to Comedy Central with women in front, it was an uphill battle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zeBPmu8mDxI\u003c/p>\n\u003cp>\u003cstrong>I’m sure you’re sick of hearing questions like “So! Regular girls on TV, who smoke pot…!” But it is interesting to me that it seems like this dam just burst in the past couple of years with cool young women in comedy getting high-profile time slots, their own shows, etc. Do you have any sense of what caused the shift?\u003c/strong>\u003c/p>\n\u003cp>I think if you’re a person in the real world, with your eyes open, you \u003cem>of course\u003c/em> know those people exist. But most people who work in television aren’t in the real world! ...It’s my feeling that other women are making it happen [for those on their way up]. That show [Broad City] was produced by Amy Poehler, and Amy Poehler made it happen. I mean, obviously those girls are great and they made a great pilot, but you need people above you in the industry who are interested in being that person. And I think we’re just getting to a point now where there are enough successful women who are in a place to do that.\u003c/p>\n\u003cp>\u003cstrong>A question I ask all Bay Area natives: Where do you make sure to go when you’re home?\u003c/strong>\u003c/p>\n\u003cp>There’s a burrito place called Taqueria Ramiro and Sons in Alameda -- we just called it the burrito place growing up -- but yeah, that’s a must. I’m a sucker for all of the Golden Lotus vegetarian restaurants run by that one cult. I like seeing my parents. Oh, and sometimes I hang out with my debate coach from high school. Lexi, if you’re reading this, I expect you to be there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Emily Heller performs at the Punch Line Comedy Club in San Francisco from March 15 - 27. For tickets and more information, visit \u003ca href=\"http://www.punchlinecomedyclub.com/\" target=\"_blank\">www.punchlinecomedyclub.com.\u003c/a>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The comedian and East Bay native returns home for three shows at the Punch Line March 17 -19. ","status":"publish","parent":0,"modified":1461877578,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1598},"headData":{"title":"Emily Heller on Swifties, Women's History Month, and Never Reading the Comments | KQED","description":"The comedian and East Bay native returns home for three shows at the Punch Line March 17 -19. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Emily Heller on Swifties, Women's History Month, and Never Reading the Comments","datePublished":"2016-03-14T15:00:59.000Z","dateModified":"2016-04-28T21:06:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"21177 http://ww2.kqed.org/pop/?p=21177","disqusUrl":"https://ww2.kqed.org/pop/2016/03/14/emily-heller-on-swifties-womens-history-month-and-never-reading-the-comments/","disqusTitle":"Emily Heller on Swifties, Women's History Month, and Never Reading the Comments","path":"/pop/21177/emily-heller-on-swifties-womens-history-month-and-never-reading-the-comments","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I saw Emily Heller's sweetly acerbic, totally self-deprecating, 100 percent hilarious standup, it was in 2013, with her debut on \u003cem>Conan -- \u003c/em>and at the risk of sounding over-the-top, it felt triumphant. This was pre-\u003cem>Broad City\u003c/em>, mind you; regular girls who were dorky, smoked weed, and called the world like they saw it were not exactly the talk of the televised town.\u003cbr>\n\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fast forward just three years, and Heller, an Alameda native and UC Santa Cruz alum who now lives in LA, is enjoying a well-deserved rise to fame. Her acting and writing credits include \u003cem>Inside Amy Schumer, Chelsea Lately, BoJack Horseman, Ground Floor \u003c/em>and more, while her first album, \u003cem>\u003ca href=\"https://emilyheller.bandcamp.com/album/good-for-her\" target=\"_blank\">Good For Her\u003c/a>\u003c/em>, was released by Kill Rockstars in November.\u003c/p>\n\u003cp>Heller returns home to do three nights at the Punch Line in San Francisco next week, March 17 - 19, as she has many times before, for the club's slate of all-female lineups for Women's History Month. So we called her up to chat.\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/d1gRMTFZLSY'\n title='//www.youtube.com/embed/d1gRMTFZLSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>KQED Pop:\u003c/strong> Happy Women’s History Month! How are you celebrating?\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>\u003cstrong>Emily Heller:\u003c/strong> Thank you! Well, it’s one of those things where like, there’s not a Women’s History Month \u003cem>festival\u003c/em>, right? Lilith Fair is in the summer, so I don’t know what the other traditions are.\u003c/p>\n\u003cp>I mean, look, it’s the broadest category in the world, it’s half the people on the planet. But the Punch Line show...it is nice, as a comedian, that Women’s History Month is there once a year to say “Hey, here’s a way to market this.” It's great that they do all-women features. I think a lot of people don’t like all-female lineups, but I can say that as a performer, nothing makes me feel like women onstage are diverse than having us be the only ones up there. Because you do get kind of freed from feeling like you’re representing your gender, which can happen when you’re the only female comic in a lineup.\u003c/p>\n\u003cp>\u003cstrong>You have \u003ca href=\"http://www.cc.com/video-clips/zv6u26/john-oliver-s-new-york-stand-up-show-feminism-is-not-very-fun\" target=\"_blank\">a bit on the album about feminism\u003c/a> and its marketing problem, and I know you've been doing it for a while. I’m curious if and how that joke has changed over the years?\u003c/strong>\u003c/p>\n\u003cp>When I wrote that joke, I wasn’t thinking about ‘Oh, I’m gonna talk about something that’s gonna be really divisive.’ I had just started standup, just moved to San Francisco after being at UC Santa Cruz, and the thought didn’t cross my mind that talking about [feminism] would be weird to anyone. It is interesting, because in the years since I first started telling that joke, it’s gotten harder and harder to perform it, and that’s great, because it’s a joke that contends with people having trouble with the idea of feminism. It’s getting destigmatized by our culture now.\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/mph1plzp1_Y'\n title='//www.youtube.com/embed/mph1plzp1_Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You did an installment of \u003ca href=\"http://www.avclub.com/article/emily-heller-taylor-swifts-slut-shaming-you-belong-227958\" target=\"_blank\">The \u003c/a>\u003ca href=\"http://www.avclub.com/article/emily-heller-taylor-swifts-slut-shaming-you-belong-227958\" target=\"_blank\">AV Club’s HateSong\u003c/a>, where you talked about how Taylor Swift’s “You Belong With Me” drives you crazy. Because it’s Taylor Swift, and because it’s the Internet, I’m assuming you got a ton of sh*t for that?\u003c/strong>\u003c/p>\n\u003cp>I got \u003cem>so\u003c/em> much sh*t for that. I’m less careful with my words in a phone interview than I am in person, so I felt kinda bad about the way some things were worded. Having said that, I still think that song is, like, brutally anti-feminist. I do hate it for that reason. \u003cem>That\u003c/em> said, I do sing along to it when it comes on, and I do love that she’s giving Kesha money right now. I love that feminism is now a commercially viable position for pop stars to take.\u003c/p>\n\u003cp>\u003cstrong>So what did you hear from the Swifties?\u003c/strong>\u003c/p>\n\u003cp>Oh, they came after me on Instagram. They came after me on Twitter. One of them pretended to be me on Twitter -- they started a fake Emily Heller Twitter account, and it was very confusing because they kept switching from speaking in the first person to the third person. I got them suspended so I can’t look it up, and I don’t remember the exact wording but it was, like, stuff about how I’ll s**k a d**k for 25 cents.\u003c/p>\n\u003cp>\u003cstrong>Wow.\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah. It was tight. I was like, wow, they really nailed my brand. How is anyone gonna know this isn’t me?\u003c/p>\n\u003cp>\u003cstrong>Do you have a thick skin for that kind of thing, having been in the public eye for a bit now? It seems like an unfortunate reality for women whose work is on the Internet. \u003c/strong>\u003c/p>\n\u003cp>No, I’m a sensitive little flower. I mean, I act kinda tough, and I know objectively that most people on the Internet are doing an impression of themselves at their worst, so I know better than to take it seriously. At the same time, that stuff will keep me up at night. Any clip on the Internet of a woman doing standup is gonna have comments on it saying “women aren’t funny,” and it’s just tiresome. What I take harder is people I respect -- if someone smart is disagreeing with me on something. I didn’t care about the Taylor Swift fans who got mad at me for that article; they were at least taking me the right way. But if someone is thinking I’m anti-feminist?\u003c/p>\n\u003cp>It’s really hard for me to deal with Internet comments. I stopped reading YouTube comments years ago; I installed a blocker because I don't even have the self-control not to read them. I do feel like being a little bit more public has kind of motivated me to check out of the national conversation at times, which could be good and could be bad. There are days when I feel like I can handle seeing how horrible the world is and days when I can’t -- I kind of think every time you sign into the Internet, you should be able to opt out of different things based on how capable you feel that day. Like “yes, I can handle that,” or “no, I can’t, just show me puppies.”\u003c/p>\n\u003cp>\u003cstrong>I would use that. That would do really well.\u003c/strong>\u003c/p>\n\u003cp>Silicon Valley! I know you’re reading this. Someone out there with money: Let’s make it happen.\u003c/p>\n\u003cp>\u003cstrong>I saw you open for \u003cem>Broad City\u003c/em> when they were in San Francisco with their live show in 2014. How did that come about?\u003c/strong>\u003c/p>\n\u003cp>I love those girls a lot, and that is quite possibly my favorite show on television. They knew I was gonna be in town for Thanksgiving, so it worked out. It has been really cool to see how much people are responding to that show -- I remember it wasn’t that long ago that if you wanted to sell a show to Comedy Central with women in front, it was an uphill battle.\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/zeBPmu8mDxI'\n title='//www.youtube.com/embed/zeBPmu8mDxI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>I’m sure you’re sick of hearing questions like “So! Regular girls on TV, who smoke pot…!” But it is interesting to me that it seems like this dam just burst in the past couple of years with cool young women in comedy getting high-profile time slots, their own shows, etc. Do you have any sense of what caused the shift?\u003c/strong>\u003c/p>\n\u003cp>I think if you’re a person in the real world, with your eyes open, you \u003cem>of course\u003c/em> know those people exist. But most people who work in television aren’t in the real world! ...It’s my feeling that other women are making it happen [for those on their way up]. That show [Broad City] was produced by Amy Poehler, and Amy Poehler made it happen. I mean, obviously those girls are great and they made a great pilot, but you need people above you in the industry who are interested in being that person. And I think we’re just getting to a point now where there are enough successful women who are in a place to do that.\u003c/p>\n\u003cp>\u003cstrong>A question I ask all Bay Area natives: Where do you make sure to go when you’re home?\u003c/strong>\u003c/p>\n\u003cp>There’s a burrito place called Taqueria Ramiro and Sons in Alameda -- we just called it the burrito place growing up -- but yeah, that’s a must. I’m a sucker for all of the Golden Lotus vegetarian restaurants run by that one cult. I like seeing my parents. Oh, and sometimes I hang out with my debate coach from high school. Lexi, if you’re reading this, I expect you to be there.\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>Emily Heller performs at the Punch Line Comedy Club in San Francisco from March 15 - 27. For tickets and more information, visit \u003ca href=\"http://www.punchlinecomedyclub.com/\" target=\"_blank\">www.punchlinecomedyclub.com.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/21177/emily-heller-on-swifties-womens-history-month-and-never-reading-the-comments","authors":["7237"],"categories":["pop_131","pop_2696"],"tags":["pop_2840","pop_2837","pop_287"],"featImg":"pop_21179","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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