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"title": "New ‘Lunchbox Moments’ Zine Offers One Antidote to Anti-Asian Racism",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">If you run in first- and second-generation immigrant circles, you’ve probably heard your share of “stinky lunchbox” stories—about the time someone’s mother packed them dumplings or curry, and the other elementary school kids acted like it was the grossest thing ever. Deep shame ensues, followed eventually by acceptance.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or so the narrative goes.\u003c/span> \u003cspan style=\"font-weight: 400\">For many Asian Americans, in particular, the \u003c/span>\u003ca href=\"https://www.eater.com/22239499/lunchbox-moment-pop-culture-tropes\">\u003cspan style=\"font-weight: 400\">“lunchbox moment” anecdote\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has become a stand-in for the broad range of microaggressions they suffer in this country. It’s fitting, then, that a new Bay Area-based zine called \u003c/span>\u003ca href=\"https://lunchboxmoments.com/\">\u003ci>\u003cspan style=\"font-weight: 400\">Lunchbox Moments\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> would use these types of memories as a vehicle for Asian Americans and Pacific Islanders to share personal stories about food and identity on the heels of AAPI Heritage Month—and to do so during a time when \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\">\u003cspan style=\"font-weight: 400\">violent attacks against Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have dominated the headlines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Starting on Monday, June 7, the zine will be \u003c/span>\u003ca href=\"https://lunchboxmoments.com/\">\u003cspan style=\"font-weight: 400\">available for purchase online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for $30 a copy. All proceeds will benefit San Francisco’s Chinatown Community Development Center (CCDC), which has run two iterations of its \u003c/span>\u003ca href=\"https://www.chinatowncdc.org/feed-fuel-chinatown-2\">\u003cspan style=\"font-weight: 400\">Feed + Fuel Chinatown Fund\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a COVID relief program that pays Chinatown restaurants to provide free meals for the low-income residents of the neighborhood’s Single Resident Occupancy hotels (SROs). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The zine is the brainchild of Shirley Huey, Diann Leo-Omine and Anthony Shu, Bay Area food writers who met at the \u003c/span>\u003ca href=\"https://www.thefoodmedialab.com/\">\u003cspan style=\"font-weight: 400\">Food Media Lab\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> workshop in San Francisco in 2019. The three had been talking about collaborating on some kind of project when the double whammy of 2020 hit—the pandemic, of course, but also the wave of anti-Chinese, anti-Asian sentiment that accompanied its arrival in the U.S.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Even before the government shutdowns, we all saw that restaurants in Chinatowns were completely deserted of customers,” Huey says. “And we saw, also, the rhetoric that was happening all around. We wanted to do something that would respond to what we were seeing.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13896306']Despite an initial blitz of media coverage on some of the most egregious attacks on Asian elders, Shu says he felt there weren’t a lot of platforms for stories about the racism that Asian Americans and Pacific Islanders experience in this country. A collection of stories about these often fraught lunchbox memories seemed like one way to respond to the current wave of hatred.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was a project that satisfied our passion for food but also storytelling,” Shu says. “We didn’t want to do a pure fundraiser or a bake sale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The lunchbox moment theme seemed apt. For many Asian Americans, memories of those so-called “stinky lunchbox” moments became the impetus, years later, for their own political awakening: They saw that Asian food had suddenly become trendy—that the same type of person who may have bullied them for their dumpling/curry/kimchi lunch as a kid might now own the hip, $40-an-entree Asian-inspired restaurant that just got a photo spread in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bon Appetit\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, this type of story is now so commonplace that it has become something of a cliche. “Being bullied for your lunch only to grow up and find white people putting chile crisp on everything is a trajectory that’s easy to understand—and easy to sell to a white editor,” Eater’s Jaya Saxena writes in “\u003c/span>\u003ca href=\"https://www.eater.com/22239499/lunchbox-moment-pop-culture-tropes\">\u003cspan style=\"font-weight: 400\">The Limits of the Lunchbox Moment\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” Among the trope’s other shortcomings, including the fact that not \u003cem>all\u003c/em> immigrants experience it, Saxena argues that these lunchbox stories let white readers off the hook too easily—as though they couldn’t possibly be racist if they’re willing to try new foods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The creators of the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lunchbox Moments \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">zine say they’re well aware of the pitfalls of leaning too heavily into the trope. “We realized we didn’t want 30 pieces on how ashamed people were of their food,” Shu says. “It’s not just this simple narrative: I brought food, I was ashamed, and now I’m proud.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, Shu says, they aimed to collect a wide variety of different lunchbox stories. Yes, there is a story about a Chinese American girl who secretly threw away her mother’s oxtail stew, or the Taiwanese American whose long string of white boyfriends treated the food she grew up eating as either unpalatable or exotic. But there’s also an essay about the way the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Betty Crocker Cookbook\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the sitcom \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Father Knows Best\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> complicated a Japanese American girl’s relationship with her own mother during the 1950s. The Bay Area writer Grace Hwang Lynch writes about her love of picture menus, as an Asian American who can’t read the Chinese characters on the menus of her favorite restaurants. There are stories by Asian Americans who were \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">always\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> proud of their food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Often, [the lunchbox moment is] in relation to white supremacy and white culture,” Leo-Omine explains. “But in many of these stories, it’s actually not—it’s in relation to our families and to ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898199\" class=\"wp-caption alignnone\" style=\"max-width: 528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/LunchboxMoments_LeeDaisy.jpg\" alt=\"A comic strip: 1st panel - "House Special! Braised chicken with mushroom," the dish is pictured in a black clay pot. Second panel: "A server approaches the table. "So! How are you enjoying the special?" "Well, for starters..." 3rd panel: Tears running down the diner's cheeks - "Way too much MSG! And oily! Please bring back a different dish." 4th panel: server walks away holding the clay pot. "Alright I will bring back something that will fit your taste." Fifth panel: "15 minutes later" Customer says, "This tastes heavenly! What is this dish called?" 6th panel: Server's enraged face. "Orange chicken. It's the same dish you had, but we took out the herbs, deep-fried it, added dangerous levels of high fructose corn syrup. We stripped all the cultural aspects of our food JUST FOR YOU."\" width=\"528\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/LunchboxMoments_LeeDaisy.jpg 528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/LunchboxMoments_LeeDaisy-160x240.jpg 160w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003cfigcaption class=\"wp-caption-text\">“American Chinese Restaurant” by Daisy Lee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">All told, the zine collects essays and artwork from 28 contributors from around the country, with colorful illustrations—like from a children’s picture book—by designers Haylie Chan and Jeffrey Liu interspersed throughout. On the heels of this very, very difficult year for Asian Americans, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lunchbox Moments\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> curators say they hope the zine will help show the broad diversity of the AAPI experience.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a kind of stereotype about silence or lack of voice or lack of presence of Asians that isn’t true,” Huey says. “People have been telling their stories and speaking their stories for a long time. It’s just this larger world has started paying attention.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">If you run in first- and second-generation immigrant circles, you’ve probably heard your share of “stinky lunchbox” stories—about the time someone’s mother packed them dumplings or curry, and the other elementary school kids acted like it was the grossest thing ever. Deep shame ensues, followed eventually by acceptance.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or so the narrative goes.\u003c/span> \u003cspan style=\"font-weight: 400\">For many Asian Americans, in particular, the \u003c/span>\u003ca href=\"https://www.eater.com/22239499/lunchbox-moment-pop-culture-tropes\">\u003cspan style=\"font-weight: 400\">“lunchbox moment” anecdote\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has become a stand-in for the broad range of microaggressions they suffer in this country. It’s fitting, then, that a new Bay Area-based zine called \u003c/span>\u003ca href=\"https://lunchboxmoments.com/\">\u003ci>\u003cspan style=\"font-weight: 400\">Lunchbox Moments\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> would use these types of memories as a vehicle for Asian Americans and Pacific Islanders to share personal stories about food and identity on the heels of AAPI Heritage Month—and to do so during a time when \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\">\u003cspan style=\"font-weight: 400\">violent attacks against Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have dominated the headlines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Starting on Monday, June 7, the zine will be \u003c/span>\u003ca href=\"https://lunchboxmoments.com/\">\u003cspan style=\"font-weight: 400\">available for purchase online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for $30 a copy. All proceeds will benefit San Francisco’s Chinatown Community Development Center (CCDC), which has run two iterations of its \u003c/span>\u003ca href=\"https://www.chinatowncdc.org/feed-fuel-chinatown-2\">\u003cspan style=\"font-weight: 400\">Feed + Fuel Chinatown Fund\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a COVID relief program that pays Chinatown restaurants to provide free meals for the low-income residents of the neighborhood’s Single Resident Occupancy hotels (SROs). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The zine is the brainchild of Shirley Huey, Diann Leo-Omine and Anthony Shu, Bay Area food writers who met at the \u003c/span>\u003ca href=\"https://www.thefoodmedialab.com/\">\u003cspan style=\"font-weight: 400\">Food Media Lab\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> workshop in San Francisco in 2019. The three had been talking about collaborating on some kind of project when the double whammy of 2020 hit—the pandemic, of course, but also the wave of anti-Chinese, anti-Asian sentiment that accompanied its arrival in the U.S.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Even before the government shutdowns, we all saw that restaurants in Chinatowns were completely deserted of customers,” Huey says. “And we saw, also, the rhetoric that was happening all around. We wanted to do something that would respond to what we were seeing.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite an initial blitz of media coverage on some of the most egregious attacks on Asian elders, Shu says he felt there weren’t a lot of platforms for stories about the racism that Asian Americans and Pacific Islanders experience in this country. A collection of stories about these often fraught lunchbox memories seemed like one way to respond to the current wave of hatred.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was a project that satisfied our passion for food but also storytelling,” Shu says. “We didn’t want to do a pure fundraiser or a bake sale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The lunchbox moment theme seemed apt. For many Asian Americans, memories of those so-called “stinky lunchbox” moments became the impetus, years later, for their own political awakening: They saw that Asian food had suddenly become trendy—that the same type of person who may have bullied them for their dumpling/curry/kimchi lunch as a kid might now own the hip, $40-an-entree Asian-inspired restaurant that just got a photo spread in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bon Appetit\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, this type of story is now so commonplace that it has become something of a cliche. “Being bullied for your lunch only to grow up and find white people putting chile crisp on everything is a trajectory that’s easy to understand—and easy to sell to a white editor,” Eater’s Jaya Saxena writes in “\u003c/span>\u003ca href=\"https://www.eater.com/22239499/lunchbox-moment-pop-culture-tropes\">\u003cspan style=\"font-weight: 400\">The Limits of the Lunchbox Moment\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” Among the trope’s other shortcomings, including the fact that not \u003cem>all\u003c/em> immigrants experience it, Saxena argues that these lunchbox stories let white readers off the hook too easily—as though they couldn’t possibly be racist if they’re willing to try new foods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The creators of the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lunchbox Moments \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">zine say they’re well aware of the pitfalls of leaning too heavily into the trope. “We realized we didn’t want 30 pieces on how ashamed people were of their food,” Shu says. “It’s not just this simple narrative: I brought food, I was ashamed, and now I’m proud.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, Shu says, they aimed to collect a wide variety of different lunchbox stories. Yes, there is a story about a Chinese American girl who secretly threw away her mother’s oxtail stew, or the Taiwanese American whose long string of white boyfriends treated the food she grew up eating as either unpalatable or exotic. But there’s also an essay about the way the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Betty Crocker Cookbook\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the sitcom \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Father Knows Best\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> complicated a Japanese American girl’s relationship with her own mother during the 1950s. The Bay Area writer Grace Hwang Lynch writes about her love of picture menus, as an Asian American who can’t read the Chinese characters on the menus of her favorite restaurants. There are stories by Asian Americans who were \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">always\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> proud of their food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Often, [the lunchbox moment is] in relation to white supremacy and white culture,” Leo-Omine explains. “But in many of these stories, it’s actually not—it’s in relation to our families and to ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898199\" class=\"wp-caption alignnone\" style=\"max-width: 528px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/LunchboxMoments_LeeDaisy.jpg\" alt=\"A comic strip: 1st panel - "House Special! Braised chicken with mushroom," the dish is pictured in a black clay pot. Second panel: "A server approaches the table. "So! How are you enjoying the special?" "Well, for starters..." 3rd panel: Tears running down the diner's cheeks - "Way too much MSG! And oily! Please bring back a different dish." 4th panel: server walks away holding the clay pot. "Alright I will bring back something that will fit your taste." Fifth panel: "15 minutes later" Customer says, "This tastes heavenly! What is this dish called?" 6th panel: Server's enraged face. "Orange chicken. It's the same dish you had, but we took out the herbs, deep-fried it, added dangerous levels of high fructose corn syrup. We stripped all the cultural aspects of our food JUST FOR YOU."\" width=\"528\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/LunchboxMoments_LeeDaisy.jpg 528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/LunchboxMoments_LeeDaisy-160x240.jpg 160w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003cfigcaption class=\"wp-caption-text\">“American Chinese Restaurant” by Daisy Lee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">All told, the zine collects essays and artwork from 28 contributors from around the country, with colorful illustrations—like from a children’s picture book—by designers Haylie Chan and Jeffrey Liu interspersed throughout. On the heels of this very, very difficult year for Asian Americans, the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lunchbox Moments\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> curators say they hope the zine will help show the broad diversity of the AAPI experience.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a kind of stereotype about silence or lack of voice or lack of presence of Asians that isn’t true,” Huey says. “People have been telling their stories and speaking their stories for a long time. It’s just this larger world has started paying attention.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I finally got a chance to interview Marty Aranaydo. I mean, it wouldn’t feel right to have a show called \u003cem>Rightnowish\u003c/em>—highlighting arts and culture currently happening in the Bay—without talking to him.\u003c/p>\n\u003cp>Marty is a stakeholder in this terrain. Since the late ’90s, Marty has been a key player in the Bay Area scene through his DJing, graffiti writing, activism and events. He’s put in work in the fashion world with his brand \u003ca href=\"https://nvrovr.com/\" target=\"_blank\" rel=\"noopener\">NVR OVR\u003c/a>, which is also the name of his monthly dance party at the Layover in Oakland.\u003c/p>\n\u003cp>I recently grabbed a round of drinks with Marty at the Rumpus Room, not too far from his storefront in the Tenderloin. Of all of the things we discussed, one of Marty’s upcoming projects stood out: it’s a zine that will document and promote many of the small businesses in the Tenderloin, an important venture for the mom-and-pop stores surviving in the shadows of tech giants.\u003c/p>\n\u003cp>To hear all about Marty and his work, click the link.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sex, Zombies, and Party Dogs: 'Cyanide Milkshake' is a DIY Balm for the Soul",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>id you ever make a friend when you were a kid in a way that just felt \u003cem>fated?\u003c/em> You locked eyes across the playground—or, maybe a little later on, noticed that patch on their backpack and realized you had the same favorite band?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>That’s as close as I can get to describing the feeling of reading Liz Suburbia’s comics for the first time. A flash of lightning: this is \u003cem>just\u003c/em> the kind of neurotic, hilarious, possibly crazed genius I want to be around.\u003c/p>\n\u003cp>\u003cem>Thee Collected Cyanide Milkshake\u003c/em>, the first-ever collection of the Virginia artist’s self-published zines from 2008 to 2013, is packed with moments like this—some of them poignant, serious and vulnerable. In Suburbia’s black-and-white, clean but urgently drawn work, fantasy, memoir, raunch and punk rock collide. A catastrophic, zombie-plagued earth serves as the backdrop for a surprisingly realistic on-and-off romance. There’s street harassment, fear of intimacy, and fear of death. Not everything has a punchline.\u003c/p>\n\u003cp>But there is also whimsy, and joy. Anthropomorphic dogs: going to shows, getting arrested. There’s a recipe for a DIY Indonesian-style ramen with peanut butter and broccoli. The first bit that really got me, in particular, is a three-panel one-off on a page full of \u003cem>MAD\u003c/em> magazine-style gags and fake ads. A stand-in for the artist appears and asks, “Ever get the urge to just call up every guy you ever wanted to bang and just like, make zoo noises at them?” And then the next panel, eyes widened: “Uh… me neither.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I laughed out loud at this, surprised by how much I apparently needed it. Then I thought a bit on \u003ca href=\"https://www.kqed.org/pop/26929/this-week-has-been-terrible-you-should-probably-go-see-a-cat-circus\" target=\"_blank\" rel=\"noopener\">the value of stupidity during tough times\u003c/a>. It had been a long week. And it had been \u003cem>years\u003c/em>, I suddenly felt, since I’d seen anyone deliver such a gleeful excavation of the private, sometimes idiotic places our brains go when, say, we’re zoning out on the bus—let alone give them real space in a book.\u003c/p>\n\u003cfigure id=\"attachment_13844500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844500\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-800x971.jpg\" alt=\"A portion of 'Cyanide Milkshake,' by Liz Suburbia.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-989x1200.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-960x1165.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-520x631.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘Cyanide Milkshake,’ by Liz Suburbia. \u003ccite>(Courtesy Gimme Action)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>uburbia, a self-described Army brat who grew up in the D.C. punk scene, is pleased when I tell her about my playground moment. “The biggest joy of making \u003cem>Cyanide Milkshake\u003c/em>, the most liberating part, was being like, ‘This is going to be stupid,’” says the artist, “’and that’s why I’m doing it.’”\u003c/p>\n\u003cp>We’re talking on the phone in October, a week before preorders of the softcover book ship to readers, thanks to Gimme Action, otherwise known as Bay Area artist/one-woman publishing house Janelle Hessig (who, full disclosure, also works at KQED). Suburbia published a full-length, award-winning graphic novel called \u003cem>Sacred Heart\u003c/em> on Fantagraphics in 2015, and she’s currently at work on a follow-up. Her style is confident and punchy, immediately calling to mind the work of elder comics artists like Los Bros Hernandez, and it’s earned her critical acclaim. But for an anthology of Suburbia’s earlier, more raw work, the ethos of a woman-owned, DIY publisher like Gimme Action just felt right.\u003c/p>\n\u003cp>“[Hessig]’s faith in the book gave \u003cem>me\u003c/em> a lot faith in it,” says the artist.\u003c/p>\n\u003cp>Created over a period of about six years, each of the 24-page self-published issues begins with a letter from Suburbia that’s one part motivational speech, one part honest expression of the self-doubt and insecurity that goes into her process. (The book includes issues No. 2 through 8, she explains right off the bat, because No. 1 was just too embarrassing to include—including expressions of gender politics she no longer feels represent her, for example. The dramatic reenactment of its creation depicts our narrator mixing vodka with Arizona iced tea, then literally drawing the comic with her butt.)\u003c/p>\n\u003cp>“I had my circle of friends, and that’s who I was making these comics for at first,” says Suburbia, noting that she never anticipated them finding a wide audience. “I was in the punk scene, and it was just making something to give to my friends at the show.” That scene’s influence is obvious throughout Suburbia’s work, as many of her opening letters serve as a sort of “rage, rage against the dying of the light” call-to-arms for those who might think punk rock—its politics, its way of life—is only for the young.\u003c/p>\n\u003cp>“It was very similar to the way bands start—hey, we’re friends, we know how to play instruments, let’s put together a band,” says Suburbia of her early work. “That DIY ethic has always stuck with me.”\u003c/p>\n\u003cp>The result is sort of immediate intimacy between reader and writer—the kind that’s hard to fake.\u003c/p>\n\u003cfigure id=\"attachment_13844501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844501\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-800x972.jpg\" alt=\"A portion of 'Cyanide Milkshake,' by Liz Suburbia.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-800x972.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-768x933.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-1020x1239.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-988x1200.jpg 988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-960x1166.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-520x632.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘Cyanide Milkshake,’ by Liz Suburbia. \u003ccite>(Courtesy Gimme Action)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>er work is more polished than the comic trash that usually catches my eye, but I immediately felt that magical tingle of familiarity you get when encountering a kindred weirdo,” says Hessig, recalling the night “in a seedy back alley of the internet” where she first stumbled across Suburbia’s work.\u003c/p>\n\u003cp>“Her comics are full of all the of the elements that make life worth living: angst, comedy, pathos, sex, barfing, and dogs… [plus] that amazing combination of hilarious and intelligent and unhinged storytelling that I’m always hoping to discover at the comic shop over the years, but rarely do,” adds the publisher. “Maybe never have?”\u003c/p>\n\u003cp>The book does feel stuffed to the gills in the places. But the \u003cem>feeling\u003c/em> that comes through Suburbia’s characters and vignettes is consistent—as is her encouragement to the reader to pick up a pen themselves. For those of us who weren’t athletes in high school, it’s sort of a locker room pep talk—only instead of a football coach, she’s a smart, self-deprecating friend. Suburbia evangelizes about the simple joys of making comics: not only the idea that it has saved her at times—but the idea that it just might do the same for you.\u003c/p>\n\u003cp>“I think everybody should make comics if they feel moved to,” she says. “It’s such an easy and inexpensive way to communicate—especially in this day and age, when everything good feels so in danger. It can even be a small way to resist capitalism.\u003c/p>\n\u003cp>“But that’s always been my main thing I want to tell people: don’t be afraid to take time out of your day to make something,” she says. “Even if it’s just for you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>A book release party for ‘Thee Collected Cyanide Milkshake’ takes place at 1-2-3-4 Go! Records in Oakland on Friday, Nov. 10. at 7 pm, featuring The Bananas, Don’t Ask and Twompsax. \u003ca href=\"https://www.facebook.com/events/899343223585061/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>id you ever make a friend when you were a kid in a way that just felt \u003cem>fated?\u003c/em> You locked eyes across the playground—or, maybe a little later on, noticed that patch on their backpack and realized you had the same favorite band?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>That’s as close as I can get to describing the feeling of reading Liz Suburbia’s comics for the first time. A flash of lightning: this is \u003cem>just\u003c/em> the kind of neurotic, hilarious, possibly crazed genius I want to be around.\u003c/p>\n\u003cp>\u003cem>Thee Collected Cyanide Milkshake\u003c/em>, the first-ever collection of the Virginia artist’s self-published zines from 2008 to 2013, is packed with moments like this—some of them poignant, serious and vulnerable. In Suburbia’s black-and-white, clean but urgently drawn work, fantasy, memoir, raunch and punk rock collide. A catastrophic, zombie-plagued earth serves as the backdrop for a surprisingly realistic on-and-off romance. There’s street harassment, fear of intimacy, and fear of death. Not everything has a punchline.\u003c/p>\n\u003cp>But there is also whimsy, and joy. Anthropomorphic dogs: going to shows, getting arrested. There’s a recipe for a DIY Indonesian-style ramen with peanut butter and broccoli. The first bit that really got me, in particular, is a three-panel one-off on a page full of \u003cem>MAD\u003c/em> magazine-style gags and fake ads. A stand-in for the artist appears and asks, “Ever get the urge to just call up every guy you ever wanted to bang and just like, make zoo noises at them?” And then the next panel, eyes widened: “Uh… me neither.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I laughed out loud at this, surprised by how much I apparently needed it. Then I thought a bit on \u003ca href=\"https://www.kqed.org/pop/26929/this-week-has-been-terrible-you-should-probably-go-see-a-cat-circus\" target=\"_blank\" rel=\"noopener\">the value of stupidity during tough times\u003c/a>. It had been a long week. And it had been \u003cem>years\u003c/em>, I suddenly felt, since I’d seen anyone deliver such a gleeful excavation of the private, sometimes idiotic places our brains go when, say, we’re zoning out on the bus—let alone give them real space in a book.\u003c/p>\n\u003cfigure id=\"attachment_13844500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844500\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-800x971.jpg\" alt=\"A portion of 'Cyanide Milkshake,' by Liz Suburbia.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-989x1200.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-960x1165.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_-520x631.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Dogs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘Cyanide Milkshake,’ by Liz Suburbia. \u003ccite>(Courtesy Gimme Action)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>uburbia, a self-described Army brat who grew up in the D.C. punk scene, is pleased when I tell her about my playground moment. “The biggest joy of making \u003cem>Cyanide Milkshake\u003c/em>, the most liberating part, was being like, ‘This is going to be stupid,’” says the artist, “’and that’s why I’m doing it.’”\u003c/p>\n\u003cp>We’re talking on the phone in October, a week before preorders of the softcover book ship to readers, thanks to Gimme Action, otherwise known as Bay Area artist/one-woman publishing house Janelle Hessig (who, full disclosure, also works at KQED). Suburbia published a full-length, award-winning graphic novel called \u003cem>Sacred Heart\u003c/em> on Fantagraphics in 2015, and she’s currently at work on a follow-up. Her style is confident and punchy, immediately calling to mind the work of elder comics artists like Los Bros Hernandez, and it’s earned her critical acclaim. But for an anthology of Suburbia’s earlier, more raw work, the ethos of a woman-owned, DIY publisher like Gimme Action just felt right.\u003c/p>\n\u003cp>“[Hessig]’s faith in the book gave \u003cem>me\u003c/em> a lot faith in it,” says the artist.\u003c/p>\n\u003cp>Created over a period of about six years, each of the 24-page self-published issues begins with a letter from Suburbia that’s one part motivational speech, one part honest expression of the self-doubt and insecurity that goes into her process. (The book includes issues No. 2 through 8, she explains right off the bat, because No. 1 was just too embarrassing to include—including expressions of gender politics she no longer feels represent her, for example. The dramatic reenactment of its creation depicts our narrator mixing vodka with Arizona iced tea, then literally drawing the comic with her butt.)\u003c/p>\n\u003cp>“I had my circle of friends, and that’s who I was making these comics for at first,” says Suburbia, noting that she never anticipated them finding a wide audience. “I was in the punk scene, and it was just making something to give to my friends at the show.” That scene’s influence is obvious throughout Suburbia’s work, as many of her opening letters serve as a sort of “rage, rage against the dying of the light” call-to-arms for those who might think punk rock—its politics, its way of life—is only for the young.\u003c/p>\n\u003cp>“It was very similar to the way bands start—hey, we’re friends, we know how to play instruments, let’s put together a band,” says Suburbia of her early work. “That DIY ethic has always stuck with me.”\u003c/p>\n\u003cp>The result is sort of immediate intimacy between reader and writer—the kind that’s hard to fake.\u003c/p>\n\u003cfigure id=\"attachment_13844501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844501\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-800x972.jpg\" alt=\"A portion of 'Cyanide Milkshake,' by Liz Suburbia.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-800x972.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-768x933.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-1020x1239.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-988x1200.jpg 988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-960x1166.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime-520x632.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SUburbia.Bedtime.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘Cyanide Milkshake,’ by Liz Suburbia. \u003ccite>(Courtesy Gimme Action)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>er work is more polished than the comic trash that usually catches my eye, but I immediately felt that magical tingle of familiarity you get when encountering a kindred weirdo,” says Hessig, recalling the night “in a seedy back alley of the internet” where she first stumbled across Suburbia’s work.\u003c/p>\n\u003cp>“Her comics are full of all the of the elements that make life worth living: angst, comedy, pathos, sex, barfing, and dogs… [plus] that amazing combination of hilarious and intelligent and unhinged storytelling that I’m always hoping to discover at the comic shop over the years, but rarely do,” adds the publisher. “Maybe never have?”\u003c/p>\n\u003cp>The book does feel stuffed to the gills in the places. But the \u003cem>feeling\u003c/em> that comes through Suburbia’s characters and vignettes is consistent—as is her encouragement to the reader to pick up a pen themselves. For those of us who weren’t athletes in high school, it’s sort of a locker room pep talk—only instead of a football coach, she’s a smart, self-deprecating friend. Suburbia evangelizes about the simple joys of making comics: not only the idea that it has saved her at times—but the idea that it just might do the same for you.\u003c/p>\n\u003cp>“I think everybody should make comics if they feel moved to,” she says. “It’s such an easy and inexpensive way to communicate—especially in this day and age, when everything good feels so in danger. It can even be a small way to resist capitalism.\u003c/p>\n\u003cp>“But that’s always been my main thing I want to tell people: don’t be afraid to take time out of your day to make something,” she says. “Even if it’s just for you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>A book release party for ‘Thee Collected Cyanide Milkshake’ takes place at 1-2-3-4 Go! Records in Oakland on Friday, Nov. 10. at 7 pm, featuring The Bananas, Don’t Ask and Twompsax. \u003ca href=\"https://www.facebook.com/events/899343223585061/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anyone wondering if DIY publishing was still alive and well would look no further than February’s inaugural San Jose ZineCon, where visitors perused copies of locally made zines with names like \u003ci>Forget it Fatty: Confessions with Pictures\u003c/i>, \u003ci>Crocodile Girl\u003c/i>, \u003ci>Crush N Stuff\u003c/i> and \u003ci>Men are Disposable\u003c/i>, in all their self-published glory.\u003c/p>\n\u003cp>Zines are having something of a revival; at a time when writing on the internet can feel like a digital void, there’s nothing like a photocopied, stapled statement of purpose passed around among friends. Though the form has roots in early punk, zines today are radical, personal, political — and often, all of the above.\u003c/p>\n\u003cp>At one table in San Jose, \u003ci>Dear Hometown\u003c/i> — a zine in a manila envelope produced by the people behind the online publication \u003ca href=\"http://www.cheersfromthewasteland.com/\" target=\"_blank\" rel=\"noopener\">Cheers from the Wasteland\u003c/a> — took on the San Jose housing and rental market, the encroachment of Silicon Valley and the pressure to exist as DIY artists within an aggressively commercial society.\u003c/p>\n\u003cp>Inside, said editor Leslie Patron, were “21 unique love letters from different writers and artists in San Jose in response to people saying San Jose is a creative wasteland.”\u003c/p>\n\u003cp>Zinester Maryela Perez tabled the event with a zine in the form of an illustrated playlist, evoking the rush of crushing on someone, as well as the disappointment when it doesn’t work out. “It’s super inspirational to be around people who are, by any means necessary, creating things,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ZineCon co-organizer Ivy Atoms, who has toured the West Coast attending and tabling similar events, wanted to bring that energy back to San Jose, in a supportive, inclusive way. “Illustrators, writers, poets,” she lists, “we just wanted to give people a place to share their voices.” \u003cem>— Text by Sarah Hotchkiss; Video by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone wondering if DIY publishing was still alive and well would look no further than February’s inaugural San Jose ZineCon, where visitors perused copies of locally made zines with names like \u003ci>Forget it Fatty: Confessions with Pictures\u003c/i>, \u003ci>Crocodile Girl\u003c/i>, \u003ci>Crush N Stuff\u003c/i> and \u003ci>Men are Disposable\u003c/i>, in all their self-published glory.\u003c/p>\n\u003cp>Zines are having something of a revival; at a time when writing on the internet can feel like a digital void, there’s nothing like a photocopied, stapled statement of purpose passed around among friends. Though the form has roots in early punk, zines today are radical, personal, political — and often, all of the above.\u003c/p>\n\u003cp>At one table in San Jose, \u003ci>Dear Hometown\u003c/i> — a zine in a manila envelope produced by the people behind the online publication \u003ca href=\"http://www.cheersfromthewasteland.com/\" target=\"_blank\" rel=\"noopener\">Cheers from the Wasteland\u003c/a> — took on the San Jose housing and rental market, the encroachment of Silicon Valley and the pressure to exist as DIY artists within an aggressively commercial society.\u003c/p>\n\u003cp>Inside, said editor Leslie Patron, were “21 unique love letters from different writers and artists in San Jose in response to people saying San Jose is a creative wasteland.”\u003c/p>\n\u003cp>Zinester Maryela Perez tabled the event with a zine in the form of an illustrated playlist, evoking the rush of crushing on someone, as well as the disappointment when it doesn’t work out. “It’s super inspirational to be around people who are, by any means necessary, creating things,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ZineCon co-organizer Ivy Atoms, who has toured the West Coast attending and tabling similar events, wanted to bring that energy back to San Jose, in a supportive, inclusive way. “Illustrators, writers, poets,” she lists, “we just wanted to give people a place to share their voices.” \u003cem>— Text by Sarah Hotchkiss; Video by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>",
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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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"order": 9
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"meta": {
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"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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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"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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"hyphenacion": {
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"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. ",
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"order": 15
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"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/",
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"source": "American Public Media"
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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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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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.",
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"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",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"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"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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