A New Oakland Comic Book Unpacks Black Mental Health
Julia Wertz Graphically Shares the Joys of New Motherhood
Tom Hardy’s Double Act Can’t Save ‘Venom: The Last Dance’
‘Folie à Deux’ Reckons Curiously With ‘The Joker’
Submit to ‘Deprog’: A Racy, Queer-Centric Graphic Novel About Cults
A Puzzling Match Made in the Marvel Cinematic Universe: Robert Downey Jr. as Dr. Doom
Emil Ferris Tackles Big Issues Through a Small Child With a Monster Obsession
nic feliciano Is Blessed With The ‘Curse Of An Overactive Creative Mind’
Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85
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"content": "\u003cp>Before she became a screenwriter and author, \u003ca href=\"https://www.nellynellproductions.com/\">Janell Grace\u003c/a> worked as a case manager in juvenile hall, and she saw firsthand the effects that unprocessed trauma had on young people. “I didn’t like how they saw themselves,” she says.\u003c/p>\n\u003cp>Grace wanted to tell a story that could help the youth she worked with dream bigger, so she teamed up with one of her best friends from college, Malik Glass, to write a screenplay for a short film that could help destigmatize mental health. The result was 2022’s \u003ci>Love Conquers All\u003c/i>, which the two writers have turned into a graphic novel in collaboration with illustrator Eli Beaird. The third installment of the book comes out May 16, with a \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">release party in Oakland\u003c/a>. [aside postid='arts_13989248']\u003c/p>\n\u003cp>\u003ci>Love Conquers All\u003c/i> tells the story of Kennedy, a young Black man whose family settled in Oakland from New Orleans in the aftermath of Hurricane Katrina. As Kennedy studies to become a chef, he’s grief-stricken from his sister Faith’s death and haunted by memories of their childhood in foster care. Kennedy starts to withdraw, and his girlfriend Rose pressures him to get help.\u003c/p>\n\u003cp>“Before the good happens, the bad has to happen, so you see that transition from him crashing out,” Grace says.\u003c/p>\n\u003cp>The latest edition of \u003ci>Love Conquers All\u003c/i> deals with flashbacks to Kennedy’s brush with gun violence when he was a child, an experience he’s attempting to process in therapy as he navigates a major opportunity that could take his cooking career to the next level.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[We’re] normalizing the fact that people do have issues, and that it’s OK to address it and that, it’s OK to even have doubts if therapy is gonna work,” says Glass, who previously worked as a counselor for young people in a group home.\u003c/p>\n\u003cfigure id=\"attachment_13989433\" class=\"wp-caption alignright\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg\" alt=\"\" width=\"820\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-160x132.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-768x636.jpeg 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">Authors Janell Grace and Malik Glass (left to right). \u003ccite>(Courtesy of Janell Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the three volumes of \u003ci>Love Conquers All\u003c/i>, Grace and Glass explore multiple levels of trauma that can shake one’s foundation. In addition to the personal loss of Kennedy’s sister — which parallels Grace’s own experience of losing a sister of her own — the story also alludes to the global trauma of natural disasters, and the reverberating effects of losing one’s home. After Kennedy’s family is displaced from New Orleans, his parents are in survival mode, putting food on the table by any means necessary.\u003c/p>\n\u003cp>On an even larger scale, the books and short film also allude to generational trauma. In part one, a character recommends a book to Kennedy: \u003ci>Post Traumatic Slave Syndrome\u003c/i> by social work professor Dr. Joy DeGruy, an influential text that unpacks the lasting scars of racist violence. “If you wanna know about Black mental health, read that book,” Grace says. “It gives you a perspective that is not talked about in schools. It’s not talked about amongst our families.” [aside postid='arts_13989273']\u003c/p>\n\u003cp>In addition to independently releasing the \u003ci>Love Conquers All\u003c/i> comic books, Grace and Glass have their sights set on taking Kennedy’s story to a bigger audience: Their ambition is to turn the graphic novel into a live-action TV show set in Oakland, and they’ve already written two episodes.\u003c/p>\n\u003cp>“We just wanna show love for the Bay and its people,” Grace says. “You see TV shows shot in LA, you see TV show shot in New York. Let’s bring a show here and let’s show the people how beautiful and unique the people are in the Bay area.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The ‘Love Conquers All’ \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">launch party\u003c/a> takes place May 16, 1–5 p.m. at 3235 Grand Ave., Oakland.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before she became a screenwriter and author, \u003ca href=\"https://www.nellynellproductions.com/\">Janell Grace\u003c/a> worked as a case manager in juvenile hall, and she saw firsthand the effects that unprocessed trauma had on young people. “I didn’t like how they saw themselves,” she says.\u003c/p>\n\u003cp>Grace wanted to tell a story that could help the youth she worked with dream bigger, so she teamed up with one of her best friends from college, Malik Glass, to write a screenplay for a short film that could help destigmatize mental health. The result was 2022’s \u003ci>Love Conquers All\u003c/i>, which the two writers have turned into a graphic novel in collaboration with illustrator Eli Beaird. The third installment of the book comes out May 16, with a \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">release party in Oakland\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Love Conquers All\u003c/i> tells the story of Kennedy, a young Black man whose family settled in Oakland from New Orleans in the aftermath of Hurricane Katrina. As Kennedy studies to become a chef, he’s grief-stricken from his sister Faith’s death and haunted by memories of their childhood in foster care. Kennedy starts to withdraw, and his girlfriend Rose pressures him to get help.\u003c/p>\n\u003cp>“Before the good happens, the bad has to happen, so you see that transition from him crashing out,” Grace says.\u003c/p>\n\u003cp>The latest edition of \u003ci>Love Conquers All\u003c/i> deals with flashbacks to Kennedy’s brush with gun violence when he was a child, an experience he’s attempting to process in therapy as he navigates a major opportunity that could take his cooking career to the next level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[We’re] normalizing the fact that people do have issues, and that it’s OK to address it and that, it’s OK to even have doubts if therapy is gonna work,” says Glass, who previously worked as a counselor for young people in a group home.\u003c/p>\n\u003cfigure id=\"attachment_13989433\" class=\"wp-caption alignright\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg\" alt=\"\" width=\"820\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165.jpeg 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-160x132.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_4165-768x636.jpeg 768w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">Authors Janell Grace and Malik Glass (left to right). \u003ccite>(Courtesy of Janell Grace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the three volumes of \u003ci>Love Conquers All\u003c/i>, Grace and Glass explore multiple levels of trauma that can shake one’s foundation. In addition to the personal loss of Kennedy’s sister — which parallels Grace’s own experience of losing a sister of her own — the story also alludes to the global trauma of natural disasters, and the reverberating effects of losing one’s home. After Kennedy’s family is displaced from New Orleans, his parents are in survival mode, putting food on the table by any means necessary.\u003c/p>\n\u003cp>On an even larger scale, the books and short film also allude to generational trauma. In part one, a character recommends a book to Kennedy: \u003ci>Post Traumatic Slave Syndrome\u003c/i> by social work professor Dr. Joy DeGruy, an influential text that unpacks the lasting scars of racist violence. “If you wanna know about Black mental health, read that book,” Grace says. “It gives you a perspective that is not talked about in schools. It’s not talked about amongst our families.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to independently releasing the \u003ci>Love Conquers All\u003c/i> comic books, Grace and Glass have their sights set on taking Kennedy’s story to a bigger audience: Their ambition is to turn the graphic novel into a live-action TV show set in Oakland, and they’ve already written two episodes.\u003c/p>\n\u003cp>“We just wanna show love for the Bay and its people,” Grace says. “You see TV shows shot in LA, you see TV show shot in New York. Let’s bring a show here and let’s show the people how beautiful and unique the people are in the Bay area.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The ‘Love Conquers All’ \u003ca href=\"https://www.eventbrite.com/e/love-conquers-all-part-3-book-release-tickets-1983055036998\">launch party\u003c/a> takes place May 16, 1–5 p.m. at 3235 Grand Ave., Oakland.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13988258\" class=\"wp-caption aligncenter\" style=\"max-width: 1647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988258 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already.png\" alt=\"A book cover featuring an illustration of an exhausted woman lying on a couch in her underwear, clutching a small baby to her chest, in an apartment cluttered with baby toys, plants and other items. At her side i a man working on a computer at a cluttered desk. \" width=\"1647\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already.png 1647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already-1265x1536.png 1265w\" sizes=\"auto, (max-width: 1647px) 100vw, 1647px\">\u003cfigcaption class=\"wp-caption-text\">‘Bury Me Already (It’s Nice Down Here): Comics on Pregnancy and Parenthood’ by Julia Wertz. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2009’s \u003cem>The Fart Party: Volume 2\u003c/em>, \u003ca href=\"https://www.juliawertz.com/\">Julia Wertz\u003c/a> drew the slow deterioration of a two-year relationship. “After spending a week with Oliver in Vermont, I realized that there was now a distance between us that was irreparable,” Wertz wrote. “We were growing apart and heading in drastically different directions. I think we both knew we were going to break up soon.” Later in the volume, the split finally happens and Wertz is surprised by the intensity of her sadness.\u003c/p>\n\u003cp>[aside postid='arts_13972135']Fast forward 17 years and Wertz has just released an impressive new book, \u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/julia-wertz/bury-me-already-its-nice-down-here/9780762468287/?lens=black-dog-leventhal\">Bury Me Already (It’s Nice Down Here): Comics on Pregnancy and Parenthood\u003c/a>\u003c/em>. The entertaining tome documents Wertz’s 2020 pregnancy, birth and marriage with — you’ve guessed it! — Oliver. Because, it turns out, some distances aren’t so irreparable after all. (As someone who followed Wertz’s work closely in the late 2000s, the fact that these two managed to work things out fills me with an irrational degree of joy.)\u003c/p>\n\u003cp>\u003cem>Bury Me Already\u003c/em> is a continuation of Wertz’s unfiltered — and often hilarious — approach to sharing her life. In her 20s, Wertz drew her own creative process as a series of panels showing her puking, bleeding and pooping onto pieces of paper. Now that she’s in her motherhood years, the puke, blood and poop have become literal. Wertz does battle with bodily functions throughout this book: a repeatedly reopening cesarean section wound, several projectile baby poop/puke incidents and, yes, plenty of farting. If ever the world needed an honest depiction of child-rearing in all of its stinky glory, Wertz is an ideal person for the job.\u003c/p>\n\u003cfigure id=\"attachment_13988262\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988262\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken.png\" alt=\"A comic strip showing a woman lying on a bed in mesh shorts with arrows pointing to a variety of injuries on her body including mysterious bruises, bleeding nipples and a surgical scar.\" width=\"2000\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken-160x77.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken-768x368.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken-1536x737.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wertz is unfiltered when it comes to capturing the challenges of motherhood. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book is also a fascinating glimpse into what happened to new mothers during 2020’s pandemic and wildfires. Being forced to keep a mask on during labor, being treated dismissively by overburdened doctors and being denied access to new mother and baby classes were all part of Wertz’s struggle.\u003c/p>\n\u003cp>Compounding matters was the fact that Wertz was based in Petaluma at the time and therefore dealing with air quality warnings for weeks at a time with a new baby whose lungs were too delicate to even take on walks. \u003cem>Bury Me Already\u003c/em>, then, is a perfect time capsule of a period that most of us have done our best to forget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is a lot of talk about the loneliness of motherhood,” Wertz writes at one point. “And I’m sorry, but I don’t wanna fucking hear it unless you became a first time mother in the early months of the pandemic during fire season.”\u003c/p>\n\u003cp>Because of the circumstances of the period, few folks outside of Wertz’s immediate pod show up in \u003cem>Bury Me Already\u003c/em>. One exception to this is Wertz’s delightfully quirky mother who emerges at regular intervals to lightheartedly share inappropriate stories about other people’s misfortunes. Mama Wertz provides much comic relief in \u003cem>Bury Me Already\u003c/em> and I for one would love to see a book dedicated entirely to her in Wertz’s future.\u003c/p>\n\u003cp>There are a plethora of books that new mothers can turn to for advice and guidance. And next to bottle warmers and onesies and white noise machines, \u003cem>Bury Me Already\u003c/em> may not seem like the most useful gift at your next baby shower.\u003c/p>\n\u003cp>But if it’s empathy and solidarity that’s needed, Julia Wertz’s book will serve as a comforting balm during the sleepless nights and frazzled days that all new parents face — in this wholly unique yet “deeply unoriginal” experience of raising a child.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.hachettebookgroup.com/titles/julia-wertz/bury-me-already-its-nice-down-here/9780762468287/?lens=black-dog-leventhal\">Bury Me Already (It’s Nice Down Here): Comics on Pregnancy and Parenthood\u003c/a>’ by \u003ca href=\"https://www.juliawertz.com/\">Julia Wertz\u003c/a> is released on April 14, 2026, via Black Dog & Leventhal.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Wertz will be appearing at \u003ca href=\"https://napabookmine.com/event/2026-04-29/author-event-bury-me-already-its-nice-down-here-julia-wertz\">Napa Bookmine\u003c/a> (1625 2nd St.) on April 29, 2026 and at \u003ca href=\"https://pegasusbookstore.com/wertz2026\">Pegasus Books\u003c/a> (2349 Shattuck Ave.) in Berkeley with Briana Loewinsohn on April 30.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988258\" class=\"wp-caption aligncenter\" style=\"max-width: 1647px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988258 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already.png\" alt=\"A book cover featuring an illustration of an exhausted woman lying on a couch in her underwear, clutching a small baby to her chest, in an apartment cluttered with baby toys, plants and other items. At her side i a man working on a computer at a cluttered desk. \" width=\"1647\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already.png 1647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Bury-Me-Already-1265x1536.png 1265w\" sizes=\"auto, (max-width: 1647px) 100vw, 1647px\">\u003cfigcaption class=\"wp-caption-text\">‘Bury Me Already (It’s Nice Down Here): Comics on Pregnancy and Parenthood’ by Julia Wertz. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2009’s \u003cem>The Fart Party: Volume 2\u003c/em>, \u003ca href=\"https://www.juliawertz.com/\">Julia Wertz\u003c/a> drew the slow deterioration of a two-year relationship. “After spending a week with Oliver in Vermont, I realized that there was now a distance between us that was irreparable,” Wertz wrote. “We were growing apart and heading in drastically different directions. I think we both knew we were going to break up soon.” Later in the volume, the split finally happens and Wertz is surprised by the intensity of her sadness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fast forward 17 years and Wertz has just released an impressive new book, \u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/julia-wertz/bury-me-already-its-nice-down-here/9780762468287/?lens=black-dog-leventhal\">Bury Me Already (It’s Nice Down Here): Comics on Pregnancy and Parenthood\u003c/a>\u003c/em>. The entertaining tome documents Wertz’s 2020 pregnancy, birth and marriage with — you’ve guessed it! — Oliver. Because, it turns out, some distances aren’t so irreparable after all. (As someone who followed Wertz’s work closely in the late 2000s, the fact that these two managed to work things out fills me with an irrational degree of joy.)\u003c/p>\n\u003cp>\u003cem>Bury Me Already\u003c/em> is a continuation of Wertz’s unfiltered — and often hilarious — approach to sharing her life. In her 20s, Wertz drew her own creative process as a series of panels showing her puking, bleeding and pooping onto pieces of paper. Now that she’s in her motherhood years, the puke, blood and poop have become literal. Wertz does battle with bodily functions throughout this book: a repeatedly reopening cesarean section wound, several projectile baby poop/puke incidents and, yes, plenty of farting. If ever the world needed an honest depiction of child-rearing in all of its stinky glory, Wertz is an ideal person for the job.\u003c/p>\n\u003cfigure id=\"attachment_13988262\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988262\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken.png\" alt=\"A comic strip showing a woman lying on a bed in mesh shorts with arrows pointing to a variety of injuries on her body including mysterious bruises, bleeding nipples and a surgical scar.\" width=\"2000\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken-160x77.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken-768x368.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/wertz-broken-1536x737.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wertz is unfiltered when it comes to capturing the challenges of motherhood. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book is also a fascinating glimpse into what happened to new mothers during 2020’s pandemic and wildfires. Being forced to keep a mask on during labor, being treated dismissively by overburdened doctors and being denied access to new mother and baby classes were all part of Wertz’s struggle.\u003c/p>\n\u003cp>Compounding matters was the fact that Wertz was based in Petaluma at the time and therefore dealing with air quality warnings for weeks at a time with a new baby whose lungs were too delicate to even take on walks. \u003cem>Bury Me Already\u003c/em>, then, is a perfect time capsule of a period that most of us have done our best to forget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There is a lot of talk about the loneliness of motherhood,” Wertz writes at one point. “And I’m sorry, but I don’t wanna fucking hear it unless you became a first time mother in the early months of the pandemic during fire season.”\u003c/p>\n\u003cp>Because of the circumstances of the period, few folks outside of Wertz’s immediate pod show up in \u003cem>Bury Me Already\u003c/em>. One exception to this is Wertz’s delightfully quirky mother who emerges at regular intervals to lightheartedly share inappropriate stories about other people’s misfortunes. Mama Wertz provides much comic relief in \u003cem>Bury Me Already\u003c/em> and I for one would love to see a book dedicated entirely to her in Wertz’s future.\u003c/p>\n\u003cp>There are a plethora of books that new mothers can turn to for advice and guidance. And next to bottle warmers and onesies and white noise machines, \u003cem>Bury Me Already\u003c/em> may not seem like the most useful gift at your next baby shower.\u003c/p>\n\u003cp>But if it’s empathy and solidarity that’s needed, Julia Wertz’s book will serve as a comforting balm during the sleepless nights and frazzled days that all new parents face — in this wholly unique yet “deeply unoriginal” experience of raising a child.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.hachettebookgroup.com/titles/julia-wertz/bury-me-already-its-nice-down-here/9780762468287/?lens=black-dog-leventhal\">Bury Me Already (It’s Nice Down Here): Comics on Pregnancy and Parenthood\u003c/a>’ by \u003ca href=\"https://www.juliawertz.com/\">Julia Wertz\u003c/a> is released on April 14, 2026, via Black Dog & Leventhal.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Wertz will be appearing at \u003ca href=\"https://napabookmine.com/event/2026-04-29/author-event-bury-me-already-its-nice-down-here-julia-wertz\">Napa Bookmine\u003c/a> (1625 2nd St.) on April 29, 2026 and at \u003ca href=\"https://pegasusbookstore.com/wertz2026\">Pegasus Books\u003c/a> (2349 Shattuck Ave.) in Berkeley with Briana Loewinsohn on April 30.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>[aside postid='arts_13967226']The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HyIyd9joTTc\u003c/p>\n\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>[aside postid='arts_13967037']But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/HyIyd9joTTc'\n title='//www.youtube.com/embed/HyIyd9joTTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s put on a happy face, at least to start, for \u003cem>Joker: Folie à Deux\u003c/em>.\u003c/p>\n\u003cp>If there’s one undeniably compelling thing about both \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">Todd Phillips’ divisive 2019 original\u003c/a> and his new follow-up, it’s that these movies are best when they dance. The first movie might have been a muddled attempt to retrofit a \u003cem>Taxi Driver\u003c/em>-styled ’70s realism into a Joker origin story, but, man, when Joaquin Phoenix is on his toes, it’s hard to look away.\u003c/p>\n\u003cp>Just the image of a gaunt Phoenix decked out in the red suit, with his green-streaked hair slicked back, was enough to give \u003cem>Joker\u003c/em> a kick. The role gave Phoenix, a full-bodied actor, a day-glo canvas on which to unleash torrents of movement, cycling between wounded restraint and flamboyant release, in a comic-book genre that usually leaves performers paralyzed by spandex.\u003c/p>\n\u003cp>[aside postid='arts_13965555']He’s nearly as captivating in \u003cem>Joker: Folie à Deux\u003c/em>, a musical that closely follows the events of the first film as an imprisoned Arthur Fleck (Phoenix) goes on trial for the murders that occurred at the culmination of \u003cem>Joker\u003c/em>. Even the way Phoenix theatrically smokes as Arthur — which he does quite a lot in \u003cem>Folie à Deux\u003c/em> — shows you how much he’s luxuriating in the limber physicality of the character.\u003c/p>\n\u003cp>But any sense of forward momentum has gone out the window in \u003cem>Joker: Folie à Deux\u003c/em>, which opens in theaters Thursday. Phillips has followed his very anti-hero take on the Joker with an a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was. If \u003cem>Joker\u003c/em> — which some claimed sympathized the kind of lone gunmen that populate our real world — stirred debate, \u003cem>Folie à Deux\u003c/em> is a self-conscious rejoinder to all that discussion, spending much of its time interrogating Arthur’s actions from the last movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs&t=101s\u003c/p>\n\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>[aside postid='arts_13965970']That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>[aside postid='arts_13965877']These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\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/_OKAwz2MsJs'\n title='//www.youtube.com/embed/_OKAwz2MsJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Submit to ‘Deprog’: A Racy, Queer-Centric Graphic Novel About Cults",
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"content": "\u003cp>Let’s get something important out of the way first: \u003cem>Deprog\u003c/em> might just be one of the most bizarre \u003ca href=\"https://www.kqed.org/arts/tag/graphic-novels\">graphic novels\u003c/a> of the year.\u003c/p>\n\u003cp>At the center of the story is Tate Debs, a BDSM-loving lesbian who specializes in “deprogramming” cult survivors. One day, a beautiful femme named Vera enters Tate’s office (located in the back of a video store) and begs for assistance in getting her brother out of a cult that calls itself The Caring. It just so happens that Tate was born and raised inside the group, and barely survived it herself. Soon, Tate, Vera and video store guy Lester are on a mission to the desert to infiltrate the cult and track down its mysterious leader, Lorenz.\u003c/p>\n\u003cp>[aside postid='arts_13963277']While that all probably sounds fairly straightforward, this is a story that spirals quickly. By the end of Chapter 1, Tate and Vera are going at it in a sex dungeon. By the end of Chapter 2, we’ve been introduced to mysterious twins handing out cult seltzer with a label that reads: “He who drinks bathwater of the universe cares for the unified self.” (A statement that, by the end of the graphic novel, actually makes sense.) By the end of the final fourth chapter, there’s been brainwashing, torture, jaw-dropping childhood secrets revealed and dyke-related quips aplenty.\u003c/p>\n\u003cp>\u003cem>Deprog\u003c/em> was originally published as four separate comic books, the last of which came out in June. The series is the brainchild of four female collaborators led by writer and sexual subculture expert \u003ca href=\"https://www.instagram.com/tinahornsass/?hl=en\">Tina Horn\u003c/a>, who spent her formative years in the Bay Area. \u003ca href=\"https://www.lisasterle.com/\">Lisa Sterle\u003c/a> (best known for her \u003ca href=\"https://www.lisasterle.com/mwt\">Modern Witch Tarot\u003c/a> deck) illustrated, \u003ca href=\"https://www.instagram.com/GabContrerasR/\">Gab Contreras\u003c/a> acted as colorist, and Greek artist \u003ca href=\"https://www.instagram.com/danistrips/?hl=en\">DaNi\u003c/a> was responsible for the cover art. Their work is gleefully and unabashedly sexy, but is careful to include realistic depictions of women’s bodies — pubic hair, round bellies and all.\u003c/p>\n\u003cp>All of which is to say that \u003cem>Deprog\u003c/em> is a total trip — one that women, queer folk and fans of neo-noir will surely enjoy taking.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Deprog’ is released on Sept. 24, 2024, via \u003ca href=\"https://deadskypublishing.com/\">Dead Sky Publishing\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get something important out of the way first: \u003cem>Deprog\u003c/em> might just be one of the most bizarre \u003ca href=\"https://www.kqed.org/arts/tag/graphic-novels\">graphic novels\u003c/a> of the year.\u003c/p>\n\u003cp>At the center of the story is Tate Debs, a BDSM-loving lesbian who specializes in “deprogramming” cult survivors. One day, a beautiful femme named Vera enters Tate’s office (located in the back of a video store) and begs for assistance in getting her brother out of a cult that calls itself The Caring. It just so happens that Tate was born and raised inside the group, and barely survived it herself. Soon, Tate, Vera and video store guy Lester are on a mission to the desert to infiltrate the cult and track down its mysterious leader, Lorenz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While that all probably sounds fairly straightforward, this is a story that spirals quickly. By the end of Chapter 1, Tate and Vera are going at it in a sex dungeon. By the end of Chapter 2, we’ve been introduced to mysterious twins handing out cult seltzer with a label that reads: “He who drinks bathwater of the universe cares for the unified self.” (A statement that, by the end of the graphic novel, actually makes sense.) By the end of the final fourth chapter, there’s been brainwashing, torture, jaw-dropping childhood secrets revealed and dyke-related quips aplenty.\u003c/p>\n\u003cp>\u003cem>Deprog\u003c/em> was originally published as four separate comic books, the last of which came out in June. The series is the brainchild of four female collaborators led by writer and sexual subculture expert \u003ca href=\"https://www.instagram.com/tinahornsass/?hl=en\">Tina Horn\u003c/a>, who spent her formative years in the Bay Area. \u003ca href=\"https://www.lisasterle.com/\">Lisa Sterle\u003c/a> (best known for her \u003ca href=\"https://www.lisasterle.com/mwt\">Modern Witch Tarot\u003c/a> deck) illustrated, \u003ca href=\"https://www.instagram.com/GabContrerasR/\">Gab Contreras\u003c/a> acted as colorist, and Greek artist \u003ca href=\"https://www.instagram.com/danistrips/?hl=en\">DaNi\u003c/a> was responsible for the cover art. Their work is gleefully and unabashedly sexy, but is careful to include realistic depictions of women’s bodies — pubic hair, round bellies and all.\u003c/p>\n\u003cp>All of which is to say that \u003cem>Deprog\u003c/em> is a total trip — one that women, queer folk and fans of neo-noir will surely enjoy taking.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Deprog’ is released on Sept. 24, 2024, via \u003ca href=\"https://deadskypublishing.com/\">Dead Sky Publishing\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Puzzling Match Made in the Marvel Cinematic Universe: Robert Downey Jr. as Dr. Doom",
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"content": "\u003cp>At San Diego Comic-Con over the weekend, Marvel Studios announced that Robert Downey Jr. would be returning to the Marvel Cinematic Universe in two upcoming films, \u003cem>Avengers: Doomsday\u003c/em> and \u003cem>Avengers: Secret Wars\u003c/em>, both of which will be directed by the Russo Brothers.\u003c/p>\n\u003cp>The twist: RDJ won’t be playing the very, very dead MCU lynchpin Tony Stark/Iron Man; instead, he will assay the role of iconic Marvel Comics villain Victor von Doom/Doctor Doom.\u003c/p>\n\u003cp>[aside postid='pop_107416']There’s every reason to suspect, given the current state of the MCU (read: a frothy bubbly stew of universes, timelines, variants and doppelgangers roiling together over medium-high heat), that there’s some logical narrative reason for the studio to turn to the guy who played Iron Man to play Doctor Doom, and that said reason goes somewhat deeper than “Hey lookit they both got metal masks!”\u003c/p>\n\u003cp>Fans, it will not surprise you, took to the internet to register their opinions on this announcement. Some were hopeful, many complained that it represented a creative step backward – little more than Marvel’s IP-generating machinery going into a multi-platform defensive crouch.\u003c/p>\n\u003cp>You and I, reader, can let others have their outsized reactions to what is, at this stage, a simple casting announcement. We, on the other hand, will approach this news more systematically.\u003c/p>\n\u003ch3>A Stark contrast\u003c/h3>\n\u003cp>If you’re old enough to remember when they announced that Robert Downey Jr. had been cast as Tony Stark (\u003cem>and\u003c/em> you were nerdy enough back then to know who Tony Stark was), you will recall experiencing one and only reaction: Well, of \u003cem>course\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The affinities between Downey and Stark — swagger, sarcasm, a public history of substance abuse — made the pairing feel obvious, perfect, even somehow inevitable. A smarmy peg finding its smirking hole. Everything that came after — the rapid-patter asides, the tossed-off references, the charming insufferableness, the cheesy goatee — helped establish and grow the MCU.\u003c/p>\n\u003cfigure id=\"attachment_13961743\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961743\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56%E2%80%AFAM.png\" alt=\"A white man wearing a grey tank top reaches out one hand wearing a red metal glove.\" width=\"1290\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-768x500.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Robert Downey Jr. as Iron Man. \u003ccite>(FlixPix/Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cut to last weekend’s announcement. I’d argue that the collective reaction we’re experiencing at this particular cultural moment is less a “Well, of \u003cem>course\u003c/em>,” and more of a “Wait, \u003cem>what \u003c/em>now?”\u003c/p>\n\u003cp>There’s a reason for that, and it has to do with the character of Doctor Doom himself. Robert Downey, Jr. slips into the persona of Tony Stark like a hand slips into a supple suede driving glove.\u003c/p>\n\u003cp>[aside postid='pop_101544']Conversely, Robert Downey, Jr. slips into the persona of Victor von Doom like a box of wax crayons slips into an industrial hydraulic press. We know that what happens next will be dramatic and colorful, yes. But it’s not the best use of those crayons, and \u003cem>someone\u003c/em>’s gonna have to spend hours cleaning the damn press.\u003c/p>\n\u003cp>Don’t get me wrong: Downey, as an actor, is more than Stark. He’s played Chaplin, he’s played Sherlock Holmes, he \u003ca href=\"https://www.npr.org/2024/03/10/1234267643/oscars-2024-the-complete-list-of-winners\">just won an Oscar\u003c/a> playing the entirely un-Tony-esque political schemer Lewis Strauss.\u003c/p>\n\u003cp>But still, there’s such a thing as an actor’s public persona, and how well it resonates with a given pre-established character. Or in this case, how it \u003cem>WOW\u003c/em> very much does not.\u003c/p>\n\u003cp>Because Victor von Doom, as he exists in the comics, is a malicious, vengeful, power-hungry despot who dreams only of conquest. Laid back, he is not. Jokey, he is not.\u003c/p>\n\u003cp>Nor is he given to muttering obscure insults out of the side of his mouth, or enjoining his colleagues into action via AP-level pop culture references. He’s not louche, he doesn’t slouch, he’s not the kind of guy to whom the descriptor “suave” could ever conceivably attach, just as you’d never picture him cradling a whiskey in his hand.\u003c/p>\n\u003cp>No, Doctor Doom, supreme ruler of Latveria, stands erect, feet always far wider than shoulder-width apart. You often find him extending a fist or two in the air before him (the clenched nature of which effectively precludes whisky-cradling). He’s given to barking short, declarative statements. “Curses!” “Bah!” “Witless fool!” “Kneel!” “Kneel, witless fool!” That sort of thing.\u003c/p>\n\u003cp>Oh, and he refers to himself in the third person. That’s a very Doom thing.\u003c/p>\n\u003cp>[aside postid='pop_4778']But let’s attempt to approach this casting news from a dispassionate, analytical distance.\u003c/p>\n\u003cp>Below, I will list several classic actual Doctor Doom quotes lifted straight from the comics. Our job will be to determine together how easily we can imagine these quotes being declaimed by the beloved and multi-award-winning actor, Mr. Robert Downey Jr.\u003c/p>\n\u003cp>We will use a scale of 1 to 10, with 1 being “Nope, sorry, cannot remotely imagine” to 10 being “\u003ca href=\"https://www.youtube.com/shorts/nxzi3S37n1w?app=desktop\">No hard feelings, \u003cem>Point Break\u003c/em>; you got a mean swing\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13961744\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57%E2%80%AFAM.png\" alt=\"A man in a striking green suit and metal mask stands with a group of other people wearing metal masks and robes.\" width=\"1294\" height=\"1034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-800x639.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-1020x815.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-160x128.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-768x614.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Robert Downey Jr. dons the Doctor Doom mask at Comic Con. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How Easily Can You Imagine RDJ Saying …\u003c/h3>\n\u003cp>\u003cstrong>“Dolts! Such insolence will not go unpunished!” \u003c/strong>– \u003cem>Astonishing Tales\u003c/em> Vol. 1, 4\u003c/p>\n\u003cp>The arrogance fits, but the vocabulary sure doesn’t. “Dolts” is far too basic an insult; RDJ would slap a pop-culture spin on top of it. “Hey, \u003cem>Dumb and Dumber\u003c/em>,” maybe. But even then, it’s a stretch.\u003c/p>\n\u003cp>Three out of 10.\u003c/p>\n\u003cp>\u003cstrong>“The Mighty Avengers! BAH!” \u003c/strong>– \u003cem>Super-Villain Team-Up\u003c/em> Vol. 1, 9\u003c/p>\n\u003cp>Any way you care to slice it, “BAH!” is just a really tough sentiment to express with a straight face these days. (More’s the pity!) And RDJ’s factory default setting to ironic detachment certainly won’t help in this endeavor.\u003c/p>\n\u003cp>Two out of 10.\u003c/p>\n\u003cp>\u003cstrong>“Only Doom dares to dream! All others serve!”\u003c/strong> – \u003cem>Iron Man\u003c/em> Vol. 1, 102\u003c/p>\n\u003cp>Wow, harsh. Too harsh to believe coming out of the mouth of such a charming, voluble rogue.\u003c/p>\n\u003cp>Two out of 10.\u003c/p>\n\u003cp>\u003cstrong>“This game shall soon reach its inevitable conclusion — and the final triumph shall belong to Doctor Doom!” \u003c/strong>– \u003cem>Fantastic Four: World’s Greatest Comic Magazine\u003c/em> Vol. 1, 3\u003c/p>\n\u003cp>Again, it’s not the sentiment, per se, it’s the arch, elevated language it’s couched in. RDJ doesn’t say “shall” when “will” will do.\u003c/p>\n\u003cp>Four out of 10.\u003c/p>\n\u003cp>\u003cstrong>“Yes! Doom’s will be done — in the heavens as it is on Earth!”\u003c/strong> – \u003cem>Guardians of the Galaxy \u003c/em>Vol. 6, 17\u003c/p>\n\u003cp>Can’t picture RDJ coming out and stating his intent so flatly. Where’s the sidelong charm, the flirtatiousness, the disarming wit? The quote’s got plenty of swagger — too much, arguably — but swagger needs to be backed up by charisma for it to work. Now, it could be argued that RDJ’s got buckets and buckets of charisma. So I dunno. Maybe under a set of very specific conditions, he could pull it off?\u003c/p>\n\u003cp>Five out of 10?\u003c/p>\n\u003cp>\u003cstrong>“Fools! I am Doom the Destroyer! I have broken worlds to taunt you! I have shattered universes to mock you! I have taken what is yours and made it mine! Face me at your own peril, if you dare face me at all!” \u003c/strong>– \u003cem>New Avengers\u003c/em> Vol. 3, 33\u003c/p>\n\u003cp>Well I mean “Fools!” is less archaic than “Dolts!” but not by much. This quote is just a litany of gloating, and while you can certainly imagine RDJ negging you at a bar, he’d never do it so baldly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One out of 10.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At San Diego Comic-Con over the weekend, Marvel Studios announced that Robert Downey Jr. would be returning to the Marvel Cinematic Universe in two upcoming films, \u003cem>Avengers: Doomsday\u003c/em> and \u003cem>Avengers: Secret Wars\u003c/em>, both of which will be directed by the Russo Brothers.\u003c/p>\n\u003cp>The twist: RDJ won’t be playing the very, very dead MCU lynchpin Tony Stark/Iron Man; instead, he will assay the role of iconic Marvel Comics villain Victor von Doom/Doctor Doom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s every reason to suspect, given the current state of the MCU (read: a frothy bubbly stew of universes, timelines, variants and doppelgangers roiling together over medium-high heat), that there’s some logical narrative reason for the studio to turn to the guy who played Iron Man to play Doctor Doom, and that said reason goes somewhat deeper than “Hey lookit they both got metal masks!”\u003c/p>\n\u003cp>Fans, it will not surprise you, took to the internet to register their opinions on this announcement. Some were hopeful, many complained that it represented a creative step backward – little more than Marvel’s IP-generating machinery going into a multi-platform defensive crouch.\u003c/p>\n\u003cp>You and I, reader, can let others have their outsized reactions to what is, at this stage, a simple casting announcement. We, on the other hand, will approach this news more systematically.\u003c/p>\n\u003ch3>A Stark contrast\u003c/h3>\n\u003cp>If you’re old enough to remember when they announced that Robert Downey Jr. had been cast as Tony Stark (\u003cem>and\u003c/em> you were nerdy enough back then to know who Tony Stark was), you will recall experiencing one and only reaction: Well, of \u003cem>course\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The affinities between Downey and Stark — swagger, sarcasm, a public history of substance abuse — made the pairing feel obvious, perfect, even somehow inevitable. A smarmy peg finding its smirking hole. Everything that came after — the rapid-patter asides, the tossed-off references, the charming insufferableness, the cheesy goatee — helped establish and grow the MCU.\u003c/p>\n\u003cfigure id=\"attachment_13961743\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961743\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56%E2%80%AFAM.png\" alt=\"A white man wearing a grey tank top reaches out one hand wearing a red metal glove.\" width=\"1290\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.20.56 AM-768x500.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Robert Downey Jr. as Iron Man. \u003ccite>(FlixPix/Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cut to last weekend’s announcement. I’d argue that the collective reaction we’re experiencing at this particular cultural moment is less a “Well, of \u003cem>course\u003c/em>,” and more of a “Wait, \u003cem>what \u003c/em>now?”\u003c/p>\n\u003cp>There’s a reason for that, and it has to do with the character of Doctor Doom himself. Robert Downey, Jr. slips into the persona of Tony Stark like a hand slips into a supple suede driving glove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Conversely, Robert Downey, Jr. slips into the persona of Victor von Doom like a box of wax crayons slips into an industrial hydraulic press. We know that what happens next will be dramatic and colorful, yes. But it’s not the best use of those crayons, and \u003cem>someone\u003c/em>’s gonna have to spend hours cleaning the damn press.\u003c/p>\n\u003cp>Don’t get me wrong: Downey, as an actor, is more than Stark. He’s played Chaplin, he’s played Sherlock Holmes, he \u003ca href=\"https://www.npr.org/2024/03/10/1234267643/oscars-2024-the-complete-list-of-winners\">just won an Oscar\u003c/a> playing the entirely un-Tony-esque political schemer Lewis Strauss.\u003c/p>\n\u003cp>But still, there’s such a thing as an actor’s public persona, and how well it resonates with a given pre-established character. Or in this case, how it \u003cem>WOW\u003c/em> very much does not.\u003c/p>\n\u003cp>Because Victor von Doom, as he exists in the comics, is a malicious, vengeful, power-hungry despot who dreams only of conquest. Laid back, he is not. Jokey, he is not.\u003c/p>\n\u003cp>Nor is he given to muttering obscure insults out of the side of his mouth, or enjoining his colleagues into action via AP-level pop culture references. He’s not louche, he doesn’t slouch, he’s not the kind of guy to whom the descriptor “suave” could ever conceivably attach, just as you’d never picture him cradling a whiskey in his hand.\u003c/p>\n\u003cp>No, Doctor Doom, supreme ruler of Latveria, stands erect, feet always far wider than shoulder-width apart. You often find him extending a fist or two in the air before him (the clenched nature of which effectively precludes whisky-cradling). He’s given to barking short, declarative statements. “Curses!” “Bah!” “Witless fool!” “Kneel!” “Kneel, witless fool!” That sort of thing.\u003c/p>\n\u003cp>Oh, and he refers to himself in the third person. That’s a very Doom thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But let’s attempt to approach this casting news from a dispassionate, analytical distance.\u003c/p>\n\u003cp>Below, I will list several classic actual Doctor Doom quotes lifted straight from the comics. Our job will be to determine together how easily we can imagine these quotes being declaimed by the beloved and multi-award-winning actor, Mr. Robert Downey Jr.\u003c/p>\n\u003cp>We will use a scale of 1 to 10, with 1 being “Nope, sorry, cannot remotely imagine” to 10 being “\u003ca href=\"https://www.youtube.com/shorts/nxzi3S37n1w?app=desktop\">No hard feelings, \u003cem>Point Break\u003c/em>; you got a mean swing\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13961744\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57%E2%80%AFAM.png\" alt=\"A man in a striking green suit and metal mask stands with a group of other people wearing metal masks and robes.\" width=\"1294\" height=\"1034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-800x639.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-1020x815.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-160x128.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-30-at-7.24.57 AM-768x614.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Robert Downey Jr. dons the Doctor Doom mask at Comic Con. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How Easily Can You Imagine RDJ Saying …\u003c/h3>\n\u003cp>\u003cstrong>“Dolts! Such insolence will not go unpunished!” \u003c/strong>– \u003cem>Astonishing Tales\u003c/em> Vol. 1, 4\u003c/p>\n\u003cp>The arrogance fits, but the vocabulary sure doesn’t. “Dolts” is far too basic an insult; RDJ would slap a pop-culture spin on top of it. “Hey, \u003cem>Dumb and Dumber\u003c/em>,” maybe. But even then, it’s a stretch.\u003c/p>\n\u003cp>Three out of 10.\u003c/p>\n\u003cp>\u003cstrong>“The Mighty Avengers! BAH!” \u003c/strong>– \u003cem>Super-Villain Team-Up\u003c/em> Vol. 1, 9\u003c/p>\n\u003cp>Any way you care to slice it, “BAH!” is just a really tough sentiment to express with a straight face these days. (More’s the pity!) And RDJ’s factory default setting to ironic detachment certainly won’t help in this endeavor.\u003c/p>\n\u003cp>Two out of 10.\u003c/p>\n\u003cp>\u003cstrong>“Only Doom dares to dream! All others serve!”\u003c/strong> – \u003cem>Iron Man\u003c/em> Vol. 1, 102\u003c/p>\n\u003cp>Wow, harsh. Too harsh to believe coming out of the mouth of such a charming, voluble rogue.\u003c/p>\n\u003cp>Two out of 10.\u003c/p>\n\u003cp>\u003cstrong>“This game shall soon reach its inevitable conclusion — and the final triumph shall belong to Doctor Doom!” \u003c/strong>– \u003cem>Fantastic Four: World’s Greatest Comic Magazine\u003c/em> Vol. 1, 3\u003c/p>\n\u003cp>Again, it’s not the sentiment, per se, it’s the arch, elevated language it’s couched in. RDJ doesn’t say “shall” when “will” will do.\u003c/p>\n\u003cp>Four out of 10.\u003c/p>\n\u003cp>\u003cstrong>“Yes! Doom’s will be done — in the heavens as it is on Earth!”\u003c/strong> – \u003cem>Guardians of the Galaxy \u003c/em>Vol. 6, 17\u003c/p>\n\u003cp>Can’t picture RDJ coming out and stating his intent so flatly. Where’s the sidelong charm, the flirtatiousness, the disarming wit? The quote’s got plenty of swagger — too much, arguably — but swagger needs to be backed up by charisma for it to work. Now, it could be argued that RDJ’s got buckets and buckets of charisma. So I dunno. Maybe under a set of very specific conditions, he could pull it off?\u003c/p>\n\u003cp>Five out of 10?\u003c/p>\n\u003cp>\u003cstrong>“Fools! I am Doom the Destroyer! I have broken worlds to taunt you! I have shattered universes to mock you! I have taken what is yours and made it mine! Face me at your own peril, if you dare face me at all!” \u003c/strong>– \u003cem>New Avengers\u003c/em> Vol. 3, 33\u003c/p>\n\u003cp>Well I mean “Fools!” is less archaic than “Dolts!” but not by much. This quote is just a litany of gloating, and while you can certainly imagine RDJ negging you at a bar, he’d never do it so baldly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13958708\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png\" alt=\"A book cover featuring a sketch of a small child's face with thick head of hair and fangs.\" width=\"962\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-800x1010.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-768x969.png 768w\" sizes=\"(max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">‘My Favorite Thing Is Monsters Book Two’ by Emil Ferris. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two types of monsters: Ones that simply appear scary and ones that are scary by their cruelty. Karen Reyes is the former, but what does that make her troubled older brother, Deeze?\u003c/p>\n\u003cp>Emil Ferris has finally followed up on her visually stunning, 2017 debut graphic novel with its concluding half, \u003ca href=\"https://www.fantagraphics.com/products/my-favorite-thing-is-monsters-book-two\">\u003cem>My Favorite Thing Is Monsters Book 2\u003c/em>\u003c/a>. It picks up right where \u003cem>Book 1\u003c/em> left off (spoilers for \u003cem>Book 1\u003c/em> … now), with 10-year-old Karen in a fever dream as she processes her mother’s death from cancer and the revelation that she had another brother named Victor before his twin Deeze killed him.\u003c/p>\n\u003cp>[aside postid='arts_13939131']For the uninitiated, the story is essentially Karen’s diary as she dons a detective hat and oversized coat to solve mysteries — like who killed the upstairs neighbor and where her emaciated classmate disappeared to — in 1968 Chicago, featuring historical events like the Rev. Martin Luther King Jr.’s assassination and Vietnam War protests. Karen, a monster-loving Catholic school student who identifies more with werewolves than with girls, sketches her experiences in lined notebooks. She has an astounding ability to capture people — a technically skilled artist who also sees through her subjects and depicts their nature alongside their features. And she’s gay, something her beloved Mama definitely did not approve of and which she must now reconcile with the society she lives in.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> may be narrated by a kid, but it is definitely an adult book with adult language and themes. Ferris raises complicated issues ranging from the patriarchy’s role in homophobia and America’s role in eugenics to the merits of capitalism, socialism and communism. Along with why school sucks.\u003c/p>\n\u003cp>And I cannot give Ferris enough accolades for acknowledging the depth of children, who often see and understand more than most adults want to admit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ferris revels in gray areas and often calls taboos and moral lines into question, using Karen’s elementary-age perspective as an opportunity to see people not as their profession, race or sexuality, but as people — or, in any case, monsters, but equalizing regardless.\u003c/p>\n\u003cp>Although \u003cem>Book 2\u003c/em> has an introduction and brief callbacks to remind readers who’s who and what happened, it’s really best to read or reread \u003cem>Book 1\u003c/em> first. There are tons of characters at play and it’s a multi-faceted story that requires deep reading. The recaps are decent reminders, but they can’t possibly capture the nuance from \u003cem>Book 1\u003c/em> in just a page or two.\u003c/p>\n\u003cp>[aside postid='arts_13930727']If \u003cem>Book 2\u003c/em> seems almost too familiar, that’s because it follows the same basic plot arc as \u003cem>Book 1\u003c/em>, even down to starting and ending with wild dreams. But unlike its prequel, the plot jumps around with considerably more frequency and suddenness. Ferris leans on her readers to read between the lines and apply the same techniques for viewing her art that her characters use when they visit the Art Institute of Chicago.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> is an incredible feat of both storytelling and artistic achievement that makes for a brag-worthy coffee table art book, as well as a compelling story with a seriously intense moral and philosophical workout. Ferris is a must-have for any comic-lover’s collection.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris is released via Fantagraphics on May 28, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958708\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png\" alt=\"A book cover featuring a sketch of a small child's face with thick head of hair and fangs.\" width=\"962\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-800x1010.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-768x969.png 768w\" sizes=\"(max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">‘My Favorite Thing Is Monsters Book Two’ by Emil Ferris. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two types of monsters: Ones that simply appear scary and ones that are scary by their cruelty. Karen Reyes is the former, but what does that make her troubled older brother, Deeze?\u003c/p>\n\u003cp>Emil Ferris has finally followed up on her visually stunning, 2017 debut graphic novel with its concluding half, \u003ca href=\"https://www.fantagraphics.com/products/my-favorite-thing-is-monsters-book-two\">\u003cem>My Favorite Thing Is Monsters Book 2\u003c/em>\u003c/a>. It picks up right where \u003cem>Book 1\u003c/em> left off (spoilers for \u003cem>Book 1\u003c/em> … now), with 10-year-old Karen in a fever dream as she processes her mother’s death from cancer and the revelation that she had another brother named Victor before his twin Deeze killed him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the uninitiated, the story is essentially Karen’s diary as she dons a detective hat and oversized coat to solve mysteries — like who killed the upstairs neighbor and where her emaciated classmate disappeared to — in 1968 Chicago, featuring historical events like the Rev. Martin Luther King Jr.’s assassination and Vietnam War protests. Karen, a monster-loving Catholic school student who identifies more with werewolves than with girls, sketches her experiences in lined notebooks. She has an astounding ability to capture people — a technically skilled artist who also sees through her subjects and depicts their nature alongside their features. And she’s gay, something her beloved Mama definitely did not approve of and which she must now reconcile with the society she lives in.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> may be narrated by a kid, but it is definitely an adult book with adult language and themes. Ferris raises complicated issues ranging from the patriarchy’s role in homophobia and America’s role in eugenics to the merits of capitalism, socialism and communism. Along with why school sucks.\u003c/p>\n\u003cp>And I cannot give Ferris enough accolades for acknowledging the depth of children, who often see and understand more than most adults want to admit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ferris revels in gray areas and often calls taboos and moral lines into question, using Karen’s elementary-age perspective as an opportunity to see people not as their profession, race or sexuality, but as people — or, in any case, monsters, but equalizing regardless.\u003c/p>\n\u003cp>Although \u003cem>Book 2\u003c/em> has an introduction and brief callbacks to remind readers who’s who and what happened, it’s really best to read or reread \u003cem>Book 1\u003c/em> first. There are tons of characters at play and it’s a multi-faceted story that requires deep reading. The recaps are decent reminders, but they can’t possibly capture the nuance from \u003cem>Book 1\u003c/em> in just a page or two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If \u003cem>Book 2\u003c/em> seems almost too familiar, that’s because it follows the same basic plot arc as \u003cem>Book 1\u003c/em>, even down to starting and ending with wild dreams. But unlike its prequel, the plot jumps around with considerably more frequency and suddenness. Ferris leans on her readers to read between the lines and apply the same techniques for viewing her art that her characters use when they visit the Art Institute of Chicago.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> is an incredible feat of both storytelling and artistic achievement that makes for a brag-worthy coffee table art book, as well as a compelling story with a seriously intense moral and philosophical workout. Ferris is a must-have for any comic-lover’s collection.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris is released via Fantagraphics on May 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>nic feliciano will find a way to creatively express herself, no matter what.\u003c/p>\n\u003cp>feliciano (who also goes by \u003ca href=\"https://www.instagram.com/cocomachetz/\" target=\"_blank\" rel=\"noopener\">Coco Machete\u003c/a>) contains multitudes. She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The fashionista, playwright, chef, thespian and 'master of fun' discusses her many artistic endeavors.",
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"description": "nic feliciano (who also goes by Coco Machete) contains multitudes. She's a fashionista who currently resides in the East Bay, but was born in the Philippines and raised in Southern California. After moving to Berkeley for school two decades ago, she's grown into a playwright, comedian, chef and thespian. She's also a former MC and member of the Bay Area-based hip-hop group, HOTTUB, which made Miami-boom bass inspired rap songs from about 2006 to 2013.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>nic feliciano will find a way to creatively express herself, no matter what.\u003c/p>\n\u003cp>feliciano (who also goes by \u003ca href=\"https://www.instagram.com/cocomachetz/\" target=\"_blank\" rel=\"noopener\">Coco Machete\u003c/a>) contains multitudes. She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"slug": "trina-robbins-feminist-cartoonist-dies-at-85",
"title": "Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85",
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"headTitle": "Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85 | KQED",
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"content": "\u003cfigure id=\"attachment_13955828\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg\" alt=\"A senior white woman smiling as she holds up a comic book titled 'It Aint Me Babe.’\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins, the first woman to draw Wonder Woman and an underground force for women in comics, died in San Francisco on Wednesday. \u003ccite>(Liz Hafalia/ The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trina Robbins, the groundbreaking San Francisco comic book artist, writer, editor and feminist, died on Wednesday at the age of 85. Robbins is primarily remembered for establishing — and popularizing — feminist comic books, raising women’s voices and for being the first woman to ever draw Wonder Woman comics.\u003c/p>\n\u003cp>The comic book world was quick to share its grief and reverence for Robbins and her work.\u003c/p>\n\u003cp>“You showed me what it looks like to lift up others,” Bay Area cartoonist \u003ca href=\"https://www.instagram.com/marinaomiart/\">MariNaomi\u003c/a> wrote \u003ca href=\"https://www.facebook.com/marinaomi/posts/pfbid0jaoBGfzSATry1CH3MUn9v3KS3xyG6QEJKAuYXaiQAggXpZmvipcAjfEEi7aQstU2l\">on Facebook\u003c/a>, “how easy it is to do, and how much that small gesture can mean to a young artist. It can change their life.”\u003c/p>\n\u003cp>“She proved over and over that you didn’t have to be ‘one of the boys’ to make comics,” wrote the Canadian graphic novelist \u003ca href=\"https://www.facebook.com/miriam.libicki/posts/pfbid0XuhDt8dkGtGG5LHdT9R8gisXwFCTyLWP8ZRJhJQ7uVfpR4znQurJ8qcYAmKThuP7l\">Miriam Libicki\u003c/a>. “She made highly influential superhero and underground comics, she wasn’t afraid to be a reviled feminist ball-buster, and she did it all unapologetically as a fashion-loving femme.”\u003c/p>\n\u003cfigure id=\"attachment_13955835\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg\" alt=\"A senior white woman sits on a blanket-covered couch smiling.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-768x576.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at her San Francisco home near Duboce Triangle in 2016. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Robbins first arrived in San Francisco from New York in 1970, she faced an underground comics scene that was thriving but still very much a boys’ club. Feeling shut out and lacking in collaborators, Robbins gathered together every female cartoonist she could find. Together, they made \u003cem>It Ain’t Me, Babe\u003c/em>, the first collection of comics created entirely by women. Printed by San Francisco underground comics publisher \u003ca href=\"https://lastgasp.com/\">Last Gasp\u003c/a>, it was a swift hit, selling 40,000 copies in three printings. It was also a game-changer for comic book artistry in the Bay and beyond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within two years, \u003cem>It Ain’t Me, Babe\u003c/em> had grown into a serialized collection called \u003cem>Wimmen’s Comix\u003c/em>. (Robbins’ contributions to the first issue included “\u003ca href=\"https://worldqueerstory.wordpress.com/tag/sandy-comes-out/\">Sandy Comes Out\u003c/a>,” featuring the first openly lesbian character in comics.) The uncompromising publication was edited by 10 different women over 17 issues, and would go on to run for 20 years. In 2016, every issue of \u003cem>Wimmen’s Comix\u003c/em> was immortalized in a two-volume book published by Fantagraphics. At the time, \u003ca href=\"https://www.kqed.org/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due\">Robbins discussed her early motivations\u003c/a> with KQED Arts.\u003c/p>\n\u003cp>“In the early ’70s, many of the guys’ comics were very misogynistic,” Robbins said. “When I would criticize [their comics] depicting rape as funny, they’d say ‘Oh, you just don’t have a sense of humor.’ So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_13955832\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955832\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg\" alt=\"A full page illustration of a worried girl and a man standing nearby. It's titled "A Teenage Abortion."\" width=\"1440\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-1020x920.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-768x693.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Wimmen’s Comix’ depicted women’s issues in unapologetic terms. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Robbins also illuminated forgotten female comic book artists who had inspired her growing up, including \u003ca href=\"//www.amazon.com/Gladys-Parker-Comics-Passion-Fashion/dp/1613451814/ref=sr_1_4\">Gladys Parker\u003c/a>, \u003ca href=\"https://www.amazon.com/Lily-Ren%C3%A9e-Escape-Artist-Holocaust/dp/0761381147/ref=sr_1_5m\">Lily Renée\u003c/a> and \u003ca href=\"https://www.amazon.com/Nell-Brinkley-Woman-Early-Century/dp/0786411511/ref=sr_1_25\">Nell Brinkley\u003c/a>, bringing them to life in a series of graphic novels. Robbins also penned \u003ca href=\"https://www.parigibooks.com/pages/books/23594/trina-robbins/a-century-of-women-cartoonists\">\u003cem>A Century of Women Cartoonists\u003c/em>\u003c/a>, \u003ca href=\"https://www.goodreads.com/en/book/show/136566\">\u003cem>The Great Women Cartoonists\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://archive.org/details/fromgirlstogrrrl0000robb\">From Girls to Grrrlz: A History of [Female] Comics From Teens to Zines\u003c/a>. \u003c/em>Her 2017 memoir, \u003ca href=\"https://www.fantagraphics.com/products/last-girl-standing\">\u003cem>Last Girl Standing\u003c/em>\u003c/a>, featured a 1966 photograph of Robbins on the cover, surrounded by friends backstage at a Donovan concert in Los Angeles. At the time, before the ascent of her comics, she worked as a fashion designer and boutique owner.\u003c/p>\n\u003cp>In the ’80s, Robbins created unabashedly feminine series like \u003ca href=\"https://www.indyplanet.com/california-girls\">\u003cem>California Girls \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"https://www.cbr.com/misty-young-girl-comic-marvel/\">Meet Misty\u003c/a>, \u003c/em>which was published by Marvel’s Star Comics imprint. In 1985, her work on \u003cem>Wonder Woman\u003c/em> began, immortalized with \u003cem>The Legend of Wonder Woman\u003c/em> series.\u003c/p>\n\u003cp>In the ’90s, Robbins published \u003cem>Choices\u003c/em>, a \u003ca href=\"https://www.amazon.com/Choices-pro-choice-anthology-National-Organization/dp/B0028GAGHQ\">comics anthology for the National Organization of Women\u003c/a> that raised money for pro-choice causes. She also cofounded Friends of Lulu — an organization that, for almost two decades, elevated women’s voices in the comic book industry.\u003c/p>\n\u003cp>In 2013, Robbins was inducted into the Will Eisner Hall of Fame at San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Decades of love for this art and this community. There is no replacement for her,” \u003ca href=\"https://www.facebook.com/gail.simone.90/posts/pfbid032RF5TWBDHVHtKsXjQnTnRviy7ERTeGWNicFXfwFfZXiTdtj7ansNqCUQ6LANRxC4l\">Gail Simone wrote\u003c/a> in Robbins’ honor. “We are blessed with her books, her art, and her guidance, and those all will live on.”\u003c/p>\n\n",
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"title": "Obituary: Trina Robbins, Groundbreaking Feminist Cartoonist | KQED",
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"headline": "Trina Robbins, Feminist Cartoonist and ‘Wimmen’s Comix’ Founder, Dies at 85",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955828\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg\" alt=\"A senior white woman smiling as she holds up a comic book titled 'It Aint Me Babe.’\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-1321644250-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins, the first woman to draw Wonder Woman and an underground force for women in comics, died in San Francisco on Wednesday. \u003ccite>(Liz Hafalia/ The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trina Robbins, the groundbreaking San Francisco comic book artist, writer, editor and feminist, died on Wednesday at the age of 85. Robbins is primarily remembered for establishing — and popularizing — feminist comic books, raising women’s voices and for being the first woman to ever draw Wonder Woman comics.\u003c/p>\n\u003cp>The comic book world was quick to share its grief and reverence for Robbins and her work.\u003c/p>\n\u003cp>“You showed me what it looks like to lift up others,” Bay Area cartoonist \u003ca href=\"https://www.instagram.com/marinaomiart/\">MariNaomi\u003c/a> wrote \u003ca href=\"https://www.facebook.com/marinaomi/posts/pfbid0jaoBGfzSATry1CH3MUn9v3KS3xyG6QEJKAuYXaiQAggXpZmvipcAjfEEi7aQstU2l\">on Facebook\u003c/a>, “how easy it is to do, and how much that small gesture can mean to a young artist. It can change their life.”\u003c/p>\n\u003cp>“She proved over and over that you didn’t have to be ‘one of the boys’ to make comics,” wrote the Canadian graphic novelist \u003ca href=\"https://www.facebook.com/miriam.libicki/posts/pfbid0XuhDt8dkGtGG5LHdT9R8gisXwFCTyLWP8ZRJhJQ7uVfpR4znQurJ8qcYAmKThuP7l\">Miriam Libicki\u003c/a>. “She made highly influential superhero and underground comics, she wasn’t afraid to be a reviled feminist ball-buster, and she did it all unapologetically as a fashion-loving femme.”\u003c/p>\n\u003cfigure id=\"attachment_13955835\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg\" alt=\"A senior white woman sits on a blanket-covered couch smiling.\" width=\"600\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Trina-Robbins-2016-Emma-Silvers-1-768x576.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at her San Francisco home near Duboce Triangle in 2016. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Robbins first arrived in San Francisco from New York in 1970, she faced an underground comics scene that was thriving but still very much a boys’ club. Feeling shut out and lacking in collaborators, Robbins gathered together every female cartoonist she could find. Together, they made \u003cem>It Ain’t Me, Babe\u003c/em>, the first collection of comics created entirely by women. Printed by San Francisco underground comics publisher \u003ca href=\"https://lastgasp.com/\">Last Gasp\u003c/a>, it was a swift hit, selling 40,000 copies in three printings. It was also a game-changer for comic book artistry in the Bay and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within two years, \u003cem>It Ain’t Me, Babe\u003c/em> had grown into a serialized collection called \u003cem>Wimmen’s Comix\u003c/em>. (Robbins’ contributions to the first issue included “\u003ca href=\"https://worldqueerstory.wordpress.com/tag/sandy-comes-out/\">Sandy Comes Out\u003c/a>,” featuring the first openly lesbian character in comics.) The uncompromising publication was edited by 10 different women over 17 issues, and would go on to run for 20 years. In 2016, every issue of \u003cem>Wimmen’s Comix\u003c/em> was immortalized in a two-volume book published by Fantagraphics. At the time, \u003ca href=\"https://www.kqed.org/pop/22085/sex-drugs-and-equal-pay-wimmens-comix-get-their-due\">Robbins discussed her early motivations\u003c/a> with KQED Arts.\u003c/p>\n\u003cp>“In the early ’70s, many of the guys’ comics were very misogynistic,” Robbins said. “When I would criticize [their comics] depicting rape as funny, they’d say ‘Oh, you just don’t have a sense of humor.’ So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_13955832\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955832\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg\" alt=\"A full page illustration of a worried girl and a man standing nearby. It's titled "A Teenage Abortion."\" width=\"1440\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-1020x920.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/teenage-abortion-1440x1299-1-768x693.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Wimmen’s Comix’ depicted women’s issues in unapologetic terms. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her work, Robbins also illuminated forgotten female comic book artists who had inspired her growing up, including \u003ca href=\"//www.amazon.com/Gladys-Parker-Comics-Passion-Fashion/dp/1613451814/ref=sr_1_4\">Gladys Parker\u003c/a>, \u003ca href=\"https://www.amazon.com/Lily-Ren%C3%A9e-Escape-Artist-Holocaust/dp/0761381147/ref=sr_1_5m\">Lily Renée\u003c/a> and \u003ca href=\"https://www.amazon.com/Nell-Brinkley-Woman-Early-Century/dp/0786411511/ref=sr_1_25\">Nell Brinkley\u003c/a>, bringing them to life in a series of graphic novels. Robbins also penned \u003ca href=\"https://www.parigibooks.com/pages/books/23594/trina-robbins/a-century-of-women-cartoonists\">\u003cem>A Century of Women Cartoonists\u003c/em>\u003c/a>, \u003ca href=\"https://www.goodreads.com/en/book/show/136566\">\u003cem>The Great Women Cartoonists\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://archive.org/details/fromgirlstogrrrl0000robb\">From Girls to Grrrlz: A History of [Female] Comics From Teens to Zines\u003c/a>. \u003c/em>Her 2017 memoir, \u003ca href=\"https://www.fantagraphics.com/products/last-girl-standing\">\u003cem>Last Girl Standing\u003c/em>\u003c/a>, featured a 1966 photograph of Robbins on the cover, surrounded by friends backstage at a Donovan concert in Los Angeles. At the time, before the ascent of her comics, she worked as a fashion designer and boutique owner.\u003c/p>\n\u003cp>In the ’80s, Robbins created unabashedly feminine series like \u003ca href=\"https://www.indyplanet.com/california-girls\">\u003cem>California Girls \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"https://www.cbr.com/misty-young-girl-comic-marvel/\">Meet Misty\u003c/a>, \u003c/em>which was published by Marvel’s Star Comics imprint. In 1985, her work on \u003cem>Wonder Woman\u003c/em> began, immortalized with \u003cem>The Legend of Wonder Woman\u003c/em> series.\u003c/p>\n\u003cp>In the ’90s, Robbins published \u003cem>Choices\u003c/em>, a \u003ca href=\"https://www.amazon.com/Choices-pro-choice-anthology-National-Organization/dp/B0028GAGHQ\">comics anthology for the National Organization of Women\u003c/a> that raised money for pro-choice causes. She also cofounded Friends of Lulu — an organization that, for almost two decades, elevated women’s voices in the comic book industry.\u003c/p>\n\u003cp>In 2013, Robbins was inducted into the Will Eisner Hall of Fame at San Diego Comic-Con.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Decades of love for this art and this community. There is no replacement for her,” \u003ca href=\"https://www.facebook.com/gail.simone.90/posts/pfbid032RF5TWBDHVHtKsXjQnTnRviy7ERTeGWNicFXfwFfZXiTdtj7ansNqCUQ6LANRxC4l\">Gail Simone wrote\u003c/a> in Robbins’ honor. “We are blessed with her books, her art, and her guidance, and those all will live on.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. 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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. 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. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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