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"title": "No One Is a Spectator in Murray Bowles’ Punk Photography",
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"content": "\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>[aside postID='arts_13871151']In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Watch us eat two tons of wontons with Martin Yan! If you’ve ever wondered where chef and television host Martin Yan goes for lunch in San Francisco’s Chinatown, come with us to\u003ca href=\"https://honswuntunhouse-sf.com/\"> Hon’s Wun-Tun House\u003c/a> on Washington Street. Martin and No Crumbs’ Josh Decolongon sampled a stunning and gastronomically ambitious array of dishes, from soup dumplings, to green onion pancakes, to ginger beef. If Yan Can Eat, so can you (if you skip breakfast and do stretches first). \u003c/span>\u003c/p>\n\u003cp>Subscribe to KQED Food’s \u003cstrong>\u003ca href=\"http://youtube.com/@KQEDFood?sub_confirmation=1\">YouTube channel\u003c/a> \u003c/strong>and follow us on \u003cstrong>\u003ca href=\"http://instagram.com/KQEDFood\">social\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>About No Crumbs:\u003c/strong> In KQED’s No Crumbs, host Josh Decolongon is a foodie field reporter, uncovering histories and celebrating the culture behind the Bay Area’s exciting and diverse culinary landscape. No Crumbs will inspire new perspectives on the Bay Area food scene you thought you knew.\u003c/p>\n\u003cp>No Crumbs is produced by Josh Decolongon and Janelle Hessig for KQED.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Watch us eat two tons of wontons with Martin Yan! If you’ve ever wondered where chef and television host Martin Yan goes for lunch in San Francisco’s Chinatown, come with us to\u003ca href=\"https://honswuntunhouse-sf.com/\"> Hon’s Wun-Tun House\u003c/a> on Washington Street. Martin and No Crumbs’ Josh Decolongon sampled a stunning and gastronomically ambitious array of dishes, from soup dumplings, to green onion pancakes, to ginger beef. If Yan Can Eat, so can you (if you skip breakfast and do stretches first). \u003c/span>\u003c/p>\n\u003cp>Subscribe to KQED Food’s \u003cstrong>\u003ca href=\"http://youtube.com/@KQEDFood?sub_confirmation=1\">YouTube channel\u003c/a> \u003c/strong>and follow us on \u003cstrong>\u003ca href=\"http://instagram.com/KQEDFood\">social\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>About No Crumbs:\u003c/strong> In KQED’s No Crumbs, host Josh Decolongon is a foodie field reporter, uncovering histories and celebrating the culture behind the Bay Area’s exciting and diverse culinary landscape. No Crumbs will inspire new perspectives on the Bay Area food scene you thought you knew.\u003c/p>\n\u003cp>No Crumbs is produced by Josh Decolongon and Janelle Hessig for KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We got our buns to Chinatown to meet up with the one-and-only Martin Yan of \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PL_PgxS3FkP7CL6Jg_8VENIhPSS8vul6cZ\">Yan Can Cook\u003c/a>\u003c/em> at \u003ca href=\"https://aabakerysf.com/\">AA Bakery\u003c/a>. The bakery case was hypnotizing, piled high with both sweet and savory treats including delectable gai mei bao pork buns and flaky egg custard tarts. With so many options swirling before me like a fever dream, I found myself in danger of a pastry overdose the minute we set foot in the front door. Luckily, I had Martin Yan, the most esteemed guide imaginable, to help navigate the labyrinth of tantalizing baked goods.\u003c/p>\n\u003cp>Subscribe to KQED Food’s \u003cstrong>\u003ca href=\"http://youtube.com/@KQEDFood?sub_confirmation=1\">YouTube channel\u003c/a> \u003c/strong>and follow us on \u003cstrong>\u003ca href=\"http://instagram.com/KQEDFood\">social\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>About No Crumbs:\u003c/strong> In KQED’s No Crumbs, host Josh Decolongon is a foodie field reporter, uncovering histories and celebrating the culture behind the Bay Area’s exciting and diverse culinary landscape. No Crumbs will inspire new perspectives on the Bay Area food scene you thought you knew.\u003c/p>\n\u003cp>No Crumbs is produced by Josh Decolongon and Janelle Hessig for KQED.\u003c/p>\n\u003cdiv class=\"post-body\">\n\u003cp> \u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Fool that I am, I thought it would be cute to read the first few chapters of Dan Clowes’ new magnum opus \u003ci>Monica \u003c/i>while vacationing in a cabin in the woods. Instead of the cozy and peaceful scene I had envisioned while climbing into bed with the book tucked under my arm one night, I found myself wide awake at 3 a.m., disturbed and bleary-eyed, looking more like a roadside accident victim than the Sleepytime Tea bear.\u003c/p>\n\u003cp>Of course, Clowes devotees may not find this terribly surprising. In \u003ci>Monica \u003c/i>(out Oct. 3 on Fantagraphics), we follow the titular character from cradle to grave as she attempts to decipher and reconcile her past, most notably around her negligent, free-spirit mom, Penny. The book is divided into nine chapters, and mixes a heady dose of childhood trauma with themes and characters — creeps, cultists, nefarious hippies — that will be familiar to fans of the artist’s earlier work.[aside postid='pop_21265']\u003c/p>\n\u003cp>In the chapter entitled “Demonica,” for example, a haunted teenage Monica resembles a distant cousin of \u003ci>Ghost World\u003c/i>’s Enid Coleslaw, with her ephemeral green bob and angst. And if you vibed with the potato-headed fish lady, Tina, in Clowes’ surreal 1993 graphic novel \u003ci>A Velvet Glove Cast In Iron\u003c/i>, you’re going to love the putrid blob of tortured townsfolk in the chapter called “A Glow Infernal.” Throughout, the storytelling flits between nightmarish surrealism and linear narrative. It’s unmooring, and certainly added to the sense of unease I felt while reading it (in the goddamn woods): Anything could happen next.\u003c/p>\n\u003cp>It’s not a breezy page-turner, Clowes says, by design.\u003c/p>\n\u003cp>“I feel like a lot of modern comics are under that Scott McCloud paradigm where you have to project yourself into every character and keep them very minimal,” Clowes tells me over Zoom, referring to the comics theorist’s argument that readers are more likely to identify with simply-drawn figures than complex ones.\u003c/p>\n\u003cp>“I read a lot of books where I literally never rest my hand. With \u003ci>Monica\u003c/i>, I wanted you to be stuck in each panel, [to feel like] ‘I’ve got to read this whole text or I’m not going to follow it. I have to look at every little thing,'” he says. “I wanted it to really slow down.”\u003c/p>\n\u003cfigure id=\"attachment_13935621\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/demonica-800x542.jpg\" alt='A cartoon drawing of a young white teenage girl with green hair is crying against a black background. Title reads \"Demonica\"' width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-1536x1041.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-2048x1388.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-1920x1302.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young woman is haunted in ‘Demonica,’ a chapter from Dan Clowes’ latest graphic novel, ‘Monica.’ \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk bible\u003c/h2>\n\u003cp>In the early 1990s, I was a youth working at Comic Relief, a comic book shop in downtown Berkeley. Every now and then, while perched on a stool behind the register, I would catch a fangirl high when Dan Clowes, who lives in Oakland, walked in the door. At a time when the term “graphic novel” hadn’t yet become common parlance and comics still solely belonged to the kooks and the obsessives, Clowes’ comic book \u003ci>Eightball\u003c/i> was every punk’s sweaty little Bible.\u003c/p>\n\u003cp>During its run from 1989 to 2004, each issue was filled with barbed humor about the buffoonery of the human race; popular targets included hipsters, comic nerds and art school students. Biting satirical shorts like \u003ci>The Sensual Santa \u003c/i>and \u003ci>Chicago\u003c/i> will always be genius and hilarious to me.\u003c/p>\n\u003cp>Over time, Clowes’ work also delivered tenderness, empathy and forgiveness, though such sentiment was usually reserved for the central characters in his longer-form work. \u003ci>Ghost World — \u003c/i>which first appeared in 1993 as a serialized \u003cem>Eightball\u003c/em> story, before its release as a stand-alone graphic novel and eventually a film — follows a friendship between two teenage girls who are growing apart. I think of it as the first time we encounter real vulnerability in Clowes’ storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13935723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-800x1215.jpg\" alt=\"a comic book cover that reads 'The complete Eightball issues 1-18' by Daniel Clowes\" width=\"800\" height=\"1215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1920x2916.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-scaled.jpg 1686w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An anthology of ‘Eightball’ comics by Daniel Clowes. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading \u003cem>Monica\u003c/em>, I found myself wondering if there was something about writing in women’s voices that made it easier to channel that care. But Clowes says the decision to make \u003cem>Monica\u003c/em>‘\u003cem>s\u003c/em> protagonist a woman hardly felt like a choice.\u003c/p>\n\u003cp>“It’s who the characters are, I can’t turn them into what they’re not,” says Clowes. “[Monica] was a girl from the beginning.” At some point, he says, he did consider how it might impact the story to change the protagonist’s gender. “[But] I just couldn’t do it. It wouldn’t be right somehow. I think it’s mostly because the only person I ever talk to is my wife. Just her all day. So she’s my model of a human being that I see.”\u003c/p>\n\u003cp>[aside postid='arts_13925644']Clowes is famously reticent to unpack the symbolism in his work, and for the most part, you might as well throw in the towel when it comes to inferring creator intent in \u003cem>Monica.\u003c/em> The artist’s personal Rosetta Stone of references and obscure cultural touchstones remains, as always, locked away in his head. But for Clowes, a reader’s visceral, unsullied interpretation is always the correct one.\u003c/p>\n\u003cp>“I’m in that phase now where everybody who’s reading [Monica] is in the same boat and approaching it with fresh eyes,” he says. “I know when it comes out, some blowhard is going to have theories about it…”\u003c/p>\n\u003cp>I’m in my forties now, a long way from that teenage comic shop counter jockey, but I still want Dan Clowes to think I’m cool. I take a silent oath not to be the blowhard.\u003c/p>\n\u003cp>“It should be a Rorschach test,” he explains. “Everybody’s got a different analysis. One of my friends was like, ‘It’s such a hopeful book for you’. And then others are like, ‘It’s the most depressing thing I’ve ever read. It feels like I’m actually witnessing the end of the world,’ and any range in between. I love that. I’m trying very hard not to interfere with any response.”\u003c/p>\n\u003cfigure id=\"attachment_13935727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_5-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_5-800x1067.jpg\" alt=\"a colorful page of a comic book\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from Daniel Clowes’ ‘Monica.’ \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Telling his truth\u003c/h2>\n\u003cp>Though others have characterized \u003cem>Monica\u003c/em> as a book about loneliness, Clowes clarifies it as “\u003ci>aloneness,” \u003c/i>which is how I experienced it. It’s the kind of existential turbulence that is both universal and deeply personal — like the death of a parent.\u003c/p>\n\u003cp>Indeed, while he refuses to deliver a cheat sheet to any of the symbolism, Clowes is forthcoming that this book is about confronting his own past and relationship with his mother. His mom was less cookies and milk, he says, and more hippie/auto mechanic/gun nut/karate expert. When he was a young child, she left his dad for a race car driver who was later killed in an accident. Like Monica’s mom Penny, Dan’s mom dumped her parental duties onto his grandparents soon afterwards.\u003c/p>\n\u003cp>Though Clowes \u003cem>pshaws\u003c/em> my suggestion that this book is about grief, he did lose several central figures in his life, including his mother, during the seven years it took to finish \u003cem>Monica\u003c/em>. When a person passes away, decorum usually dictates that obituaries are nothing but rave reviews; the unflattering and flawed pieces that also make up a life get swept under the rug. Here, Clowes tells his unvarnished truth.\u003c/p>\n\u003cp>“I realized my parents are dead, my grandparents, my only siblings. I have zero living relatives that even knew me as a kid or know anything about my family. It’s just me. [So] now I get to say what really happened, and it’s so liberating,” he says.\u003c/p>\n\u003cp>“In a way, it’s the opposite of lonely,” he adds. Previously, when he would discuss the past, “my mother would be like, ‘What? You’re out of your mind. That’s insane.’ But I’m right. I know how it was. It’s very freeing.”\u003c/p>\n\u003cfigure id=\"attachment_13935759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_4-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_4-800x537.jpg\" alt=\"a comic book panel that reads 'Foxhole'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-1536x1032.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-2048x1375.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-1920x1289.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘Monica’ by Daniel Clowes. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While I disagree that \u003cem>Monica\u003c/em> is a hopeful book, it’s true that Clowes himself seems to have shed some of his old-school cynicism. Dare I say, he comes across as exuberant, especially as we chop it up about his love of movies and the Bay Area: “I feel very gung-ho about California, the way you would about a sports team you’ve loved your whole life for no good reason,” he says. “You’re just, ‘I’m with them.’”\u003c/p>\n\u003cp>He lights up as he talks about bringing a friend on a Hitchcock tour early in the pandemic, when you could just drive right up to any beautiful landmark in San Francisco with no traffic whatsoever. Unsurprisingly, he’s also a big fan of the \u003ca href=\"https://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">Noir City\u003c/a> film festival, now programmed annually at Oakland’s Grand Lake Theater. As most of our old Bay Area theater gems have shuttered in the past couple of years, seeing all of the packed screenings for classic noir movies is especially heartwarming.\u003c/p>\n\u003cp>“It fills me with civic pride to see all of the young people dressed up,” Clowes gushes. “I just want to hug everybody.”\u003c/p>\n\u003cp>It’s a delightful bout of positivity coming from an artist whose new book’s end pages depict a twisted and fiery apocalypse full of melting faces and mutants strangling one another. I wonder, does this positivity extend to his feelings about his book, now that it’s finally making its way into the world?\u003c/p>\n\u003cp>“It is one of the few times I’m sort of just happy with it. Normally I’m like, ‘Oh, there’s something about this I wish I could change,’ or ‘I should have gone on a different course.’”\u003c/p>\n\u003cp>But with Monica, he says, “I feel like I did my best. It’s the one time I feel like, ‘OK, I did it.’”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Monica’ is out Oct. 3 on Fantagraphics. \u003ca href=\"https://www.fantagraphics.com/products/monica\">More info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Daniel Clowes’ ‘Monica’: Grief, Nefarious Hippies and a Personal Apocalypse | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fool that I am, I thought it would be cute to read the first few chapters of Dan Clowes’ new magnum opus \u003ci>Monica \u003c/i>while vacationing in a cabin in the woods. Instead of the cozy and peaceful scene I had envisioned while climbing into bed with the book tucked under my arm one night, I found myself wide awake at 3 a.m., disturbed and bleary-eyed, looking more like a roadside accident victim than the Sleepytime Tea bear.\u003c/p>\n\u003cp>Of course, Clowes devotees may not find this terribly surprising. In \u003ci>Monica \u003c/i>(out Oct. 3 on Fantagraphics), we follow the titular character from cradle to grave as she attempts to decipher and reconcile her past, most notably around her negligent, free-spirit mom, Penny. The book is divided into nine chapters, and mixes a heady dose of childhood trauma with themes and characters — creeps, cultists, nefarious hippies — that will be familiar to fans of the artist’s earlier work.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the chapter entitled “Demonica,” for example, a haunted teenage Monica resembles a distant cousin of \u003ci>Ghost World\u003c/i>’s Enid Coleslaw, with her ephemeral green bob and angst. And if you vibed with the potato-headed fish lady, Tina, in Clowes’ surreal 1993 graphic novel \u003ci>A Velvet Glove Cast In Iron\u003c/i>, you’re going to love the putrid blob of tortured townsfolk in the chapter called “A Glow Infernal.” Throughout, the storytelling flits between nightmarish surrealism and linear narrative. It’s unmooring, and certainly added to the sense of unease I felt while reading it (in the goddamn woods): Anything could happen next.\u003c/p>\n\u003cp>It’s not a breezy page-turner, Clowes says, by design.\u003c/p>\n\u003cp>“I feel like a lot of modern comics are under that Scott McCloud paradigm where you have to project yourself into every character and keep them very minimal,” Clowes tells me over Zoom, referring to the comics theorist’s argument that readers are more likely to identify with simply-drawn figures than complex ones.\u003c/p>\n\u003cp>“I read a lot of books where I literally never rest my hand. With \u003ci>Monica\u003c/i>, I wanted you to be stuck in each panel, [to feel like] ‘I’ve got to read this whole text or I’m not going to follow it. I have to look at every little thing,'” he says. “I wanted it to really slow down.”\u003c/p>\n\u003cfigure id=\"attachment_13935621\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/demonica-800x542.jpg\" alt='A cartoon drawing of a young white teenage girl with green hair is crying against a black background. Title reads \"Demonica\"' width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-1536x1041.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-2048x1388.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/demonica-1920x1302.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young woman is haunted in ‘Demonica,’ a chapter from Dan Clowes’ latest graphic novel, ‘Monica.’ \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk bible\u003c/h2>\n\u003cp>In the early 1990s, I was a youth working at Comic Relief, a comic book shop in downtown Berkeley. Every now and then, while perched on a stool behind the register, I would catch a fangirl high when Dan Clowes, who lives in Oakland, walked in the door. At a time when the term “graphic novel” hadn’t yet become common parlance and comics still solely belonged to the kooks and the obsessives, Clowes’ comic book \u003ci>Eightball\u003c/i> was every punk’s sweaty little Bible.\u003c/p>\n\u003cp>During its run from 1989 to 2004, each issue was filled with barbed humor about the buffoonery of the human race; popular targets included hipsters, comic nerds and art school students. Biting satirical shorts like \u003ci>The Sensual Santa \u003c/i>and \u003ci>Chicago\u003c/i> will always be genius and hilarious to me.\u003c/p>\n\u003cp>Over time, Clowes’ work also delivered tenderness, empathy and forgiveness, though such sentiment was usually reserved for the central characters in his longer-form work. \u003ci>Ghost World — \u003c/i>which first appeared in 1993 as a serialized \u003cem>Eightball\u003c/em> story, before its release as a stand-alone graphic novel and eventually a film — follows a friendship between two teenage girls who are growing apart. I think of it as the first time we encounter real vulnerability in Clowes’ storytelling.\u003c/p>\n\u003cfigure id=\"attachment_13935723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-800x1215.jpg\" alt=\"a comic book cover that reads 'The complete Eightball issues 1-18' by Daniel Clowes\" width=\"800\" height=\"1215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-1920x2916.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Complete-Eightball-PB-ed-COVER-1-scaled.jpg 1686w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An anthology of ‘Eightball’ comics by Daniel Clowes. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading \u003cem>Monica\u003c/em>, I found myself wondering if there was something about writing in women’s voices that made it easier to channel that care. But Clowes says the decision to make \u003cem>Monica\u003c/em>‘\u003cem>s\u003c/em> protagonist a woman hardly felt like a choice.\u003c/p>\n\u003cp>“It’s who the characters are, I can’t turn them into what they’re not,” says Clowes. “[Monica] was a girl from the beginning.” At some point, he says, he did consider how it might impact the story to change the protagonist’s gender. “[But] I just couldn’t do it. It wouldn’t be right somehow. I think it’s mostly because the only person I ever talk to is my wife. Just her all day. So she’s my model of a human being that I see.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clowes is famously reticent to unpack the symbolism in his work, and for the most part, you might as well throw in the towel when it comes to inferring creator intent in \u003cem>Monica.\u003c/em> The artist’s personal Rosetta Stone of references and obscure cultural touchstones remains, as always, locked away in his head. But for Clowes, a reader’s visceral, unsullied interpretation is always the correct one.\u003c/p>\n\u003cp>“I’m in that phase now where everybody who’s reading [Monica] is in the same boat and approaching it with fresh eyes,” he says. “I know when it comes out, some blowhard is going to have theories about it…”\u003c/p>\n\u003cp>I’m in my forties now, a long way from that teenage comic shop counter jockey, but I still want Dan Clowes to think I’m cool. I take a silent oath not to be the blowhard.\u003c/p>\n\u003cp>“It should be a Rorschach test,” he explains. “Everybody’s got a different analysis. One of my friends was like, ‘It’s such a hopeful book for you’. And then others are like, ‘It’s the most depressing thing I’ve ever read. It feels like I’m actually witnessing the end of the world,’ and any range in between. I love that. I’m trying very hard not to interfere with any response.”\u003c/p>\n\u003cfigure id=\"attachment_13935727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_5-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_5-800x1067.jpg\" alt=\"a colorful page of a comic book\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_5-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from Daniel Clowes’ ‘Monica.’ \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Telling his truth\u003c/h2>\n\u003cp>Though others have characterized \u003cem>Monica\u003c/em> as a book about loneliness, Clowes clarifies it as “\u003ci>aloneness,” \u003c/i>which is how I experienced it. It’s the kind of existential turbulence that is both universal and deeply personal — like the death of a parent.\u003c/p>\n\u003cp>Indeed, while he refuses to deliver a cheat sheet to any of the symbolism, Clowes is forthcoming that this book is about confronting his own past and relationship with his mother. His mom was less cookies and milk, he says, and more hippie/auto mechanic/gun nut/karate expert. When he was a young child, she left his dad for a race car driver who was later killed in an accident. Like Monica’s mom Penny, Dan’s mom dumped her parental duties onto his grandparents soon afterwards.\u003c/p>\n\u003cp>Though Clowes \u003cem>pshaws\u003c/em> my suggestion that this book is about grief, he did lose several central figures in his life, including his mother, during the seven years it took to finish \u003cem>Monica\u003c/em>. When a person passes away, decorum usually dictates that obituaries are nothing but rave reviews; the unflattering and flawed pieces that also make up a life get swept under the rug. Here, Clowes tells his unvarnished truth.\u003c/p>\n\u003cp>“I realized my parents are dead, my grandparents, my only siblings. I have zero living relatives that even knew me as a kid or know anything about my family. It’s just me. [So] now I get to say what really happened, and it’s so liberating,” he says.\u003c/p>\n\u003cp>“In a way, it’s the opposite of lonely,” he adds. Previously, when he would discuss the past, “my mother would be like, ‘What? You’re out of your mind. That’s insane.’ But I’m right. I know how it was. It’s very freeing.”\u003c/p>\n\u003cfigure id=\"attachment_13935759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_4-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Monica-sample_4-800x537.jpg\" alt=\"a comic book panel that reads 'Foxhole'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-1536x1032.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-2048x1375.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Monica-sample_4-1920x1289.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘Monica’ by Daniel Clowes. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While I disagree that \u003cem>Monica\u003c/em> is a hopeful book, it’s true that Clowes himself seems to have shed some of his old-school cynicism. Dare I say, he comes across as exuberant, especially as we chop it up about his love of movies and the Bay Area: “I feel very gung-ho about California, the way you would about a sports team you’ve loved your whole life for no good reason,” he says. “You’re just, ‘I’m with them.’”\u003c/p>\n\u003cp>He lights up as he talks about bringing a friend on a Hitchcock tour early in the pandemic, when you could just drive right up to any beautiful landmark in San Francisco with no traffic whatsoever. Unsurprisingly, he’s also a big fan of the \u003ca href=\"https://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">Noir City\u003c/a> film festival, now programmed annually at Oakland’s Grand Lake Theater. As most of our old Bay Area theater gems have shuttered in the past couple of years, seeing all of the packed screenings for classic noir movies is especially heartwarming.\u003c/p>\n\u003cp>“It fills me with civic pride to see all of the young people dressed up,” Clowes gushes. “I just want to hug everybody.”\u003c/p>\n\u003cp>It’s a delightful bout of positivity coming from an artist whose new book’s end pages depict a twisted and fiery apocalypse full of melting faces and mutants strangling one another. I wonder, does this positivity extend to his feelings about his book, now that it’s finally making its way into the world?\u003c/p>\n\u003cp>“It is one of the few times I’m sort of just happy with it. Normally I’m like, ‘Oh, there’s something about this I wish I could change,’ or ‘I should have gone on a different course.’”\u003c/p>\n\u003cp>But with Monica, he says, “I feel like I did my best. It’s the one time I feel like, ‘OK, I did it.’”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Monica’ is out Oct. 3 on Fantagraphics. \u003ca href=\"https://www.fantagraphics.com/products/monica\">More info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Born and raised in the deep South, host Brontez Purnell embarks on a belated rite of passage by making fried chicken for the first time. With the help of friends Sophia Wang and chef Leif Hedendahl, Brontez follows a recipe that calls for pickle juice and pepperoncini brine, as well as traditional buttermilk and seasoned flour coating. You’ll laugh, you’ll cry, and at the end of the night, you’ll be eating a crispy, tangy, and moist piece of chicken on Brontez’s back porch in Oakland.\u003c/p>\n\u003cp>Fried chicken recipe:\u003c/p>\n\u003cul>\n\u003cli>2 Whole Chickens\u003c/li>\n\u003cli>4 Tbps Paprika\u003c/li>\n\u003cli>4 Tbps Smoked Paprika\u003c/li>\n\u003cli>2 Tbps Fennel\u003c/li>\n\u003cli>3 Tbps Mace\u003c/li>\n\u003cli>4 Tbps poultry seasoning\u003c/li>\n\u003cli>2 Tbps garlic salt\u003c/li>\n\u003cli>2 Cups Flour\u003c/li>\n\u003c/ul>\n\u003cp>For Chicken Brine:\u003c/p>\n\u003cul>\n\u003cli>16 Ounces Pepperoncini Brine\u003c/li>\n\u003cli>16 Ounces Pickle Brine\u003c/li>\n\u003cli>1 paper bag for shaking\u003c/li>\n\u003cli>1 Lemon for garnish\u003c/li>\n\u003cli>2 Pickles slices for garnish\u003c/li>\n\u003c/ul>\n\u003cp>Butcher chickens into fry-able sizes. Place chicken into pickle brine in an airtight container and refrigerate overnight. Combine flour and seasoning mixture, place dry goods into brown paper bag. Add chicken to seasoning bag mixture and shake what your mama gave ya to coat the chicken pieces. Heat canola oil to at least 325 Degrees in deep pans. Cook chicken for 6-8 minutes per side. Remove chicken when golden brown. Place on a rack lined pan with paper towels underneath to absorb grease. Slice up pickles and lemon for garnish. Feast.\u003c/p>\n\u003cp>\u003cstrong>About Cooking with Brontez:\u003c/strong> KQED Food’s new series \u003cem>Cooking With Brontez\u003c/em> brings viewers into the home kitchen as we truly know it: lively, chaotic, and full of good humor. Every Monday beginning November 2021, visit the KQED Food channel on YouTube for hilarious and charming home-cooking tutorials hosted by celebrated Oakland author and performer Brontez Purnell. Join Brontez as he drops in on a host of local chefs and friends to share a spicy culinary adventure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brontez Purnell joins chef Sarah Kirnon, owner of Oakland-based Caribbean restaurant Miss Ollie’s, in her home kitchen as she shares a salt fish and ackee recipe inspired by her childhood in Barbados.\u003c/p>\n\u003cp>While they prepare the dish, Brontez and Sarah discuss regional interpretations of Black cuisine, salt fish as hangover cure, and they prepare a plate for the ancestors.\u003c/p>\n\u003cp>\u003cstrong>How to Make Miss Ollie's Salt Fish and Ackee: \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 lb. dried salt cod\u003c/li>\n\u003cli>2 tbsp. canola oil\u003c/li>\n\u003cli>1 tbsp. fresh thyme leaves and oregano\u003c/li>\n\u003cli>4 cloves garlic, finely chopped\u003c/li>\n\u003cli>1/2 large yellow onion, chopped\u003c/li>\n\u003cli>1 tomato, cored and chopped\u003c/li>\n\u003cli>1 each red and green bell pepper, stemmed, seeded, and chopped\u003c/li>\n\u003cli>1⁄2 Scotch bonnet or habanero chile, stemmed, seeded, and finely chopped\u003c/li>\n\u003cli>2 scallions, thinly sliced\u003c/li>\n\u003cli>1 (19-oz.) can ackee, rinsed and drained\u003c/li>\n\u003cli>Kosher salt and freshly ground black pepper, to taste\u003c/li>\n\u003c/ul>\n\u003cp>Place cod in a 2-qt. saucepan, and cover by 2″ with cold water; bring to a boil over high heat, and cook for 20 minutes. Drain cod, return to saucepan, and repeat process twice more ( if needed, taste for salt level) Transfer cod to a bowl, and flake with a fork into large chunks; set aside. Heat oil in a 12″ skillet over medium-high heat; add thyme, oregano, garlic, onion, tomato, peppers, and chile, and cook, stirring, until soft, about 10 minutes. Add reserved cod, the scallions, and ackee, and cook, stirring gently to keep cod and ackee in large pieces, until warmed through, about 5 minutes. Season with salt and pepper. Serve immediately with fried plantains or coconut rice and peas\u003c/p>\n\u003cp>\u003cstrong>About Cooking with Brontez:\u003c/strong> KQED Food's new series \u003cem>Cooking With Brontez\u003c/em> brings viewers into the home kitchen as we truly know it: lively, chaotic, and full of good humor. Every Monday beginning November 2021, visit the KQED Food channel on YouTube for hilarious and charming home-cooking tutorials hosted by celebrated Oakland author and performer Brontez Purnell. Join Brontez as he drops in on a host of local chefs and friends to share a spicy culinary adventure in this public media cooking show for a new era.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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