Hey Charities: We Want to Give You Stuff
Charities, social support organizations, and do-gooders of all kinds: we want to give you themes! As part of us having well-developed superegos and generally giving a shit, we’d like to extend an invitation to any and every group that’s using the platform in their campaign against world badness.
We’re especially interested in helping registered and established charities get set up on Tumblr, but we’re open to new and lesser-known groups too. Whether you work for one, support one, or just know of a great cause that should get its charitable butt on Tumblr, send us an email!
Emphatic Swanson courtesy of the ever-useful ReactionGIFs.
Blogs We Like: Anamanaguchi
Chiptune has had the good fortune to evolve without losing any of its juiced-up, adolescent enthusiasm. As forerunners of 8-bit music’s millennial resurgence, Anamanaguchi might have dwindled by now given the difficulty of inventing and reinventing within the same musical type. But here we are, and you can bet your weed-grimed Game Boy that Endless Fantasy, released this week, is awesome.
Taking 3 years to create, Endless Fantasy is giddily ambitious both in size (22 tracks) and unabashed, ass-shaking grooviness. It’s the soundtrack to an eternal pre-responsibility summer, full of intergalactic discovery and psychedelic wombat rides through seas of benevolent bikini babes. Anamanaguchi are also longtime Tumblr-ers, constantly posting all manner of blippy goodness and just being generally cool members of Tumblr’s music community. Give ‘em a follow and check out their live wizarding somewhere near you this summer.
The ‘guch are everywhere you’d expect, including Twitter, Facebook, Soundcloud, and their mainsite. Be sure to check out Endless Fantasy’s Kickstarter too, which features ridiculous donor rewards like personal theme songs and even their ultra-dank tour van.
Blogs We Like: The Chris Gethard Show
Summer is nearly upon us in the Northern hemisphere, and with summer comes mania. Maybe not “stay up for a week straight building a time machine” mania, but definitely “start using party as a verb again” mania. And if you’re looking for a prophet to lead you from maybe-bring-a-hoodie to maybe-no-shirt, I heartily endorse Chris Gethard.
The Chris Gethard Show—which airs/streams Wednesdays @11pm EST—has become the stuff of internet legend. It’s gleefully anarchic, mixing live music, incessant call-ins (seriously, call the show, you’ll most likely be put on air), and tons of bizarro improvised comedy. The show’s blog is a perfect counterpart, not only posting highlights from the show but also “Ask Gethard,” which showcases the host’s maniacally inclusive positivity. More excitable and exciting summer party-vibes are hard to come by, my friends.
Oh, and that’s pronounced GETH-erd, by the way.
In addition to the show’s main site and Tumblr, be sure to like their Facebook fan page and follow Chris on Twitter.
Stuff You Can Use: Your Current Version Number
As mentioned previously, there’s no better way to safeguard your blog against javascript errors and werewolves than to make sure you’re running the newest version of your theme. So pull yourself away from contemplating the political economy of Hungry Hungry Hippos with ’80s Don Draper for a bit, and make sure you’ve got the freshest of freshness.
- Anchorage - 3.0.0
- Antiqua - 2.2.0
- Aperture - 2.0.0
- Blank Slate - 1.1.0
- Bookmark - 1.0.1
- Boutique - 2.0.0
- Carbon - 1.0.2
- Cobalt - 2.0.0
- Crate - 2.1.0
- Eclipse - 1.0.14
- Effector - 2.0.1
- Fluid - 2.2.0
- Fluid 2 - 2.0.0
- Gun Metal - 2.1.0
- Halcyon - 1.0.7
- Halogen - 2.0.0
- Havana Club - 1.2.0
- Hue - 1.0.2
- Insider - 2.0.0
- Juneau - 3.0.0
- Kodiak - 2.1.0
- Kyoto - 2.2.0
- Marber - 1.0
- Maximalist - 2.0.0
- Nautical - 1.0.1
- Noir - 2.0.0
- Paperback - 2.0.0
- Photofolio - 1.0.9
- Provenance - 3.3.0
- Simplefolio - 1.3.0
- Sonic - 1.1.3
- Sticks and Stones - 1.0.3
- Stockholm - 1.0.7
- Storybook - 2.0.0
- Synthesis - 3.0.0
- The New Yorker - 2.0.0
- Titan - 2.0.0
- Vanity - 3.0.0
- Videographer - 1.0.7
- Vintage Portfolio - 1.2.0
- Vintage Scrapbook - 1.0.4
- Vogue - 1.0.6
- Workspace - 2.0.0
Have an older version? No problem. Throw us an email and we’ll be happy to give you the newest code, and probably recommend a weird youtube video too.
[image courtesy of some rando on Imgur]
Theme Spotlight: Titan
Our goal for some time now has been to create small families of themes that complement each other. Rather than shunting everything into a single “brand” aesthetic, we’ve consistently aimed to design small constellations of related themes that vary in function but share visual elements. To that end, we’re proud to introduce a grid-based brother to Provenance, our recent single-channel offering. Meet Titan.
Titan takes the sharp, simple aesthetics of Provenance and expands them into a beautiful mosaic. It keep the always-popular sticky post and customizable header features, and includes post highlighting to improve organization. Like our other grid themes, Titan is a spectacular frame for curated and portfolio blogs, or just about anything image- or video-heavy. Pick it up today for $49.
Blogs We Like: Florian Reischauer
Photographies of place are hard to do well. In trying to convey the atomic particularity of a city or town, photographers often tip into a kind of esotericism. They’ll focus on the internal language of a place, making images that either don’t translate or reek of preciousness. It’s much more impressive when someone actually traverses singularity and uncovers something universally readable. Florian Reischauer does this, and it’s stunning.
Reischauer’s work digs deeply into its surroundings, and what emerges is both intricate and overwhelming. His most recent project “Grüß Gott: A Fairy Tale” is deeply rooted in rural Vienna and its inhabitants. Its portraits and landscapes construct an ageless story of recurrence and seasonality, punctuated with extremely vivid yet benevolent figures. Reischauer’s other work functions similarly, soaked with immediacy and a looming, welcoming otherness.
Stuff You Can Use: Keep Your Theme Updated
Starting Monday, I’ll be making a bi-weekly(ish) post letting you know of recent theme updates. For many of you, this won’t matter too much: Tumblr themes automatically update whenever we push new version. If you’ve made any changes to your theme’s css or html, though, auto-updating doesn’t happen. So, to keep things working well, keep an eye out for our posts, and check your version numbers every now and then.
Odds are that if you’ve fiddled with your theme’s code then you know how to check its version. But, in case you don’t:
- Go to your blog in whichever browser you’d like, right click, and select “View Page Source.” Some browsers will phrase this option as “Show Page Source” instead, but it’s the same thing—”page source” is the important part.
- You’re now looking at your theme’s html. Under our super-classy Pixel Union ASCII tag, you’ll see your theme’s name and a version number (“v X.X.X”). That’s your theme’s version. Check it against what we’ve updated to, and if it’s not right, send us an email for that sweet re-up.
[Brooks-tastic GIF from “Mother” borrowed from the great Televandalist]
Guess What? We’re hiring!
We’re looking for front-end developers who want to join our merry team in downtown Victoria. The ideal candidate has a solid understanding of core programming concepts, theories and patterns, and the ability to apply the correct ones to a given problem. In beginners, we’re looking for theory. In the more advanced, specialized knowledge of Tumblr, Shopify or Wordpress.
Send applications (consisting of work samples and a brief introduction) to Liam Sarsfield, Creative Director. For more information, check out the MetaLab jobs page.
![Tumblin’: Notalkingplz (Kenan Bayraktar)
Kenan’s art is relentless. Its volume, intensity, skill, and nihilism are so consistent and overwhelming that his blog feels like a passage through an infinite event horizon. It’s work that exclaims universal absurdity while also particle-accelerating that meaninglessness into a sardonic mania. It’s funny, disconcerting, vicious, and oddly charming—all executed with little more than a couple pens, crayons, and 40 hogsheads of paper.
When I first walked into Kenan’s Highlighter and Sharpie Party last year, I felt a sense of uncanny familiarity. As it turns out, we’re both from the same part of Michigan, and our epigenetic midwestern coldness immediately bonded us. If you’re lucky, stretches of rust-belt tedium effect a productive derangement, and Notalkingplz is, to me, the current aesthetic high-water mark of where that leads. What follows came together over months of conversation, cobbled together with interrogative baby steps and undulating silences. Enjoy.
Let’s start with pleasantries. If you could pick three people to put in a locked, windowless room and have fight to the death, who would it be?
Oh man, this interview just got personal. I’m gonna go ahead and suggest a no holds barred battle of grit and grits, and say Kathy Bates, Paula Dean, and Janet Napolitano.
Obviously, Kathy Bates comes out the winner. Paula Dean’s not lasting more than a minute since her butter-heart would surely explode if she attempted combat.
Paula Dean’s butter-heart is her body’s Krang.
[[MORE]]
More pathetic: Ralph Wiggum or Bobby Hill?
Ralph Wiggum, no question. To be honest, I hate everything about King of the Hill. Can I say that? Can I admit that here?
Of course—this is a safe place. Following on the subject of taste: of the handful of repeat subjects in your work, Dragon Ball, Akira, and The Simpsons are among the most prevalent. Which had a bigger effect on you, and why?
Man that’s a tough one, but I’m gonna have to put Akira at the top of that list. I never found myself in awe of anything in Dragon Ball or on The Simpsons, entertained yes, but never in awe. Akira has played a big part from the get-go. I think Tetsuo’s transformation permanently altered my perception of bodies and masses. It was definitely what got me started on drawing stretching, melting, twisting skin and the like. Also, it had a level of technical detail that I had never seen. So I always felt compelled to study even the tiniest of details. This is a can of worms; I can’t succinctly state its importance.
As for the other two, I think Dragon Ball was my anime gateway drug, and The Simpsons was like some cool older kid at school, the kind of guy you could pick up good slang and curse words from. I guess I feel like they both just had a larger impact on the tone of my drawings.
I kind of figured Akira would rank highest of that group. Tetsuo’s transformation seems especially influential on your work’s…metaphysics, I guess? The complexity of your subjects’ disfigurements/distortions exceed Otomo’s though: enjambment with other objects, melting/stretching, and varying degrees of evisceration. What is it about torsion and mutation that so appeals to you?
In part because it’s fun to draw, but also because the end results are generally ambiguous and confusing. Especially when it comes to enjambment of entirely unrelated items, those are the most fun. I just draw different things that I like, whatever comes to mind really, and force them together visually. There’s not much more to it than that, my sources of inspiration are really fragmented.
Conceptual influences also seem really fragmented and diverse. Other than the soul-devouring torpor of Midwestern grayness, what do you consider to have strongly influenced the tonal content of your work?
Man, that’s a tough question. It’s weird for me to think about, because to me all of my drawings are jokes, but that’s just how I see them. There aren’t any coded punchlines that I expect people to get or not get. I just haphazardly jump around between ideas, some are related, and some aren’t. There’s no spanning architecture or framework to it.
As dismal as it sounds, I would cite monotony in general as the single most strongest and puzzling influence on the mood of my drawings. I feel like I’m in the movie Groundhog Day and I’m Bill Murray (is that twice now in our correspondence that I’ve likened myself to a Bill Murray character? Maybe that’s what I’m really trying to say, I subconsciously owe everything to Bill Murray.) except instead of making the most of my predicament, I’m just apathetically frittering the same day away over and over again. It sucks, but it’s also really funny to me.
Favorite: baked good, article of clothing, and professional athlete.
Baked good: What is baking? I only eat raw meats and mustard.
Article of clothing: Without a doubt, Cloak. Although I would never be so bold as to wear a cloak, I think they’re pretty cool. I wish they had never faded from popularity. Put a cloak on a fictional character and he’s cooler than fuck, but put one on a person in real life, and they’re some kind of pervert. What a cruel end for the cloak, I think we need to revive the cloak.
Athlete: Bob Probert, he was like a caveman on ice skates. Flying around the ice, sans teeth, punching the living shit out of everybody, he made for some really entertaining hockey. May he rest in peace.
Oh man, Bob Probert. Toothlessly smiling down from Cocaine Heaven, at the right hand of Fight God. Let’s go back to tedium for a moment, since I assume you’re at work right now. The inhumanity toward which you feel your self/work inevitably gravitating, the Bill Murray subject-position: is that entirely a product of repetition? Or has the torpor of work-life evolved an innate nihilism? Despite the lack of intention or intentional architecture to what you’ve done, it does read as the elaboration of something, even if “just” aesthetic. It’s hard to imagine that being solely reactionary.
I think it’s a strange mix. I don’t know how to explain it. I feel like there’s something to be said about the banality of “life sans-fascination” and it makes it even worse when you leave everything lumped into one soft limp grey pile of suck. So, instead of just letting it turn into a blob, I mold it into funny shapes. The more grey there is, the more I have to work with. It does nothing to alleviate the swelling of the blob, but it helps if you shape it into a butt, or put a tiny hat on it. Overall, I just try to have a sense of humor about the repetition of said torpor via hyperbole…and crayons. Whatever is entertaining I guess.
What do you imagine/picture in response to the phrase “everything happens for a reason?”
Everything happens for a reason, and that reason sucks.
Do you have any kind of aspiration for your work? If the rabble threw enough gold coins at you, would/could you sit in a fortress and just produce art full time?
I’m not sure. I suppose I have some aspirations, but they’re hidden in a drawer somewhere, or underneath a pile of drawings. I’d like to branch out and do something more than just draw and post, but I’m clueless and far removed from the world of art. I have no idea how I’ve gotten to where I am. When I think about it, the theme from Unsolved Mysteries starts to play, and my inner monologue is interpreted by Robert Stack standing in a shadowy room. So, needless to say, I try not to think about it. Gimme a fortress with a stable internet connection, trade the gold coins for a wellhead of ink, and I’d be all set.
Although we all know that the universe ends in a dumb and protracted heat-death, what would you choose for a different finale?
The universe wakes up, it’s 6 am, on February 2nd, “I got you babe” plays on the radio, and the universe gets up and kills itself all over again.](http://25.media.tumblr.com/d4c8104257f52d43aded596aa5617c6e/tumblr_mkswcjsVOf1rnolxfo3_500.jpg)
![Tumblin’: Notalkingplz (Kenan Bayraktar)
Kenan’s art is relentless. Its volume, intensity, skill, and nihilism are so consistent and overwhelming that his blog feels like a passage through an infinite event horizon. It’s work that exclaims universal absurdity while also particle-accelerating that meaninglessness into a sardonic mania. It’s funny, disconcerting, vicious, and oddly charming—all executed with little more than a couple pens, crayons, and 40 hogsheads of paper.
When I first walked into Kenan’s Highlighter and Sharpie Party last year, I felt a sense of uncanny familiarity. As it turns out, we’re both from the same part of Michigan, and our epigenetic midwestern coldness immediately bonded us. If you’re lucky, stretches of rust-belt tedium effect a productive derangement, and Notalkingplz is, to me, the current aesthetic high-water mark of where that leads. What follows came together over months of conversation, cobbled together with interrogative baby steps and undulating silences. Enjoy.
Let’s start with pleasantries. If you could pick three people to put in a locked, windowless room and have fight to the death, who would it be?
Oh man, this interview just got personal. I’m gonna go ahead and suggest a no holds barred battle of grit and grits, and say Kathy Bates, Paula Dean, and Janet Napolitano.
Obviously, Kathy Bates comes out the winner. Paula Dean’s not lasting more than a minute since her butter-heart would surely explode if she attempted combat.
Paula Dean’s butter-heart is her body’s Krang.
[[MORE]]
More pathetic: Ralph Wiggum or Bobby Hill?
Ralph Wiggum, no question. To be honest, I hate everything about King of the Hill. Can I say that? Can I admit that here?
Of course—this is a safe place. Following on the subject of taste: of the handful of repeat subjects in your work, Dragon Ball, Akira, and The Simpsons are among the most prevalent. Which had a bigger effect on you, and why?
Man that’s a tough one, but I’m gonna have to put Akira at the top of that list. I never found myself in awe of anything in Dragon Ball or on The Simpsons, entertained yes, but never in awe. Akira has played a big part from the get-go. I think Tetsuo’s transformation permanently altered my perception of bodies and masses. It was definitely what got me started on drawing stretching, melting, twisting skin and the like. Also, it had a level of technical detail that I had never seen. So I always felt compelled to study even the tiniest of details. This is a can of worms; I can’t succinctly state its importance.
As for the other two, I think Dragon Ball was my anime gateway drug, and The Simpsons was like some cool older kid at school, the kind of guy you could pick up good slang and curse words from. I guess I feel like they both just had a larger impact on the tone of my drawings.
I kind of figured Akira would rank highest of that group. Tetsuo’s transformation seems especially influential on your work’s…metaphysics, I guess? The complexity of your subjects’ disfigurements/distortions exceed Otomo’s though: enjambment with other objects, melting/stretching, and varying degrees of evisceration. What is it about torsion and mutation that so appeals to you?
In part because it’s fun to draw, but also because the end results are generally ambiguous and confusing. Especially when it comes to enjambment of entirely unrelated items, those are the most fun. I just draw different things that I like, whatever comes to mind really, and force them together visually. There’s not much more to it than that, my sources of inspiration are really fragmented.
Conceptual influences also seem really fragmented and diverse. Other than the soul-devouring torpor of Midwestern grayness, what do you consider to have strongly influenced the tonal content of your work?
Man, that’s a tough question. It’s weird for me to think about, because to me all of my drawings are jokes, but that’s just how I see them. There aren’t any coded punchlines that I expect people to get or not get. I just haphazardly jump around between ideas, some are related, and some aren’t. There’s no spanning architecture or framework to it.
As dismal as it sounds, I would cite monotony in general as the single most strongest and puzzling influence on the mood of my drawings. I feel like I’m in the movie Groundhog Day and I’m Bill Murray (is that twice now in our correspondence that I’ve likened myself to a Bill Murray character? Maybe that’s what I’m really trying to say, I subconsciously owe everything to Bill Murray.) except instead of making the most of my predicament, I’m just apathetically frittering the same day away over and over again. It sucks, but it’s also really funny to me.
Favorite: baked good, article of clothing, and professional athlete.
Baked good: What is baking? I only eat raw meats and mustard.
Article of clothing: Without a doubt, Cloak. Although I would never be so bold as to wear a cloak, I think they’re pretty cool. I wish they had never faded from popularity. Put a cloak on a fictional character and he’s cooler than fuck, but put one on a person in real life, and they’re some kind of pervert. What a cruel end for the cloak, I think we need to revive the cloak.
Athlete: Bob Probert, he was like a caveman on ice skates. Flying around the ice, sans teeth, punching the living shit out of everybody, he made for some really entertaining hockey. May he rest in peace.
Oh man, Bob Probert. Toothlessly smiling down from Cocaine Heaven, at the right hand of Fight God. Let’s go back to tedium for a moment, since I assume you’re at work right now. The inhumanity toward which you feel your self/work inevitably gravitating, the Bill Murray subject-position: is that entirely a product of repetition? Or has the torpor of work-life evolved an innate nihilism? Despite the lack of intention or intentional architecture to what you’ve done, it does read as the elaboration of something, even if “just” aesthetic. It’s hard to imagine that being solely reactionary.
I think it’s a strange mix. I don’t know how to explain it. I feel like there’s something to be said about the banality of “life sans-fascination” and it makes it even worse when you leave everything lumped into one soft limp grey pile of suck. So, instead of just letting it turn into a blob, I mold it into funny shapes. The more grey there is, the more I have to work with. It does nothing to alleviate the swelling of the blob, but it helps if you shape it into a butt, or put a tiny hat on it. Overall, I just try to have a sense of humor about the repetition of said torpor via hyperbole…and crayons. Whatever is entertaining I guess.
What do you imagine/picture in response to the phrase “everything happens for a reason?”
Everything happens for a reason, and that reason sucks.
Do you have any kind of aspiration for your work? If the rabble threw enough gold coins at you, would/could you sit in a fortress and just produce art full time?
I’m not sure. I suppose I have some aspirations, but they’re hidden in a drawer somewhere, or underneath a pile of drawings. I’d like to branch out and do something more than just draw and post, but I’m clueless and far removed from the world of art. I have no idea how I’ve gotten to where I am. When I think about it, the theme from Unsolved Mysteries starts to play, and my inner monologue is interpreted by Robert Stack standing in a shadowy room. So, needless to say, I try not to think about it. Gimme a fortress with a stable internet connection, trade the gold coins for a wellhead of ink, and I’d be all set.
Although we all know that the universe ends in a dumb and protracted heat-death, what would you choose for a different finale?
The universe wakes up, it’s 6 am, on February 2nd, “I got you babe” plays on the radio, and the universe gets up and kills itself all over again.](http://25.media.tumblr.com/1eeeccec9dd39d1f1c4790d232e67dbc/tumblr_mkswcjsVOf1rnolxfo1_500.jpg)
![Tumblin’: Notalkingplz (Kenan Bayraktar)
Kenan’s art is relentless. Its volume, intensity, skill, and nihilism are so consistent and overwhelming that his blog feels like a passage through an infinite event horizon. It’s work that exclaims universal absurdity while also particle-accelerating that meaninglessness into a sardonic mania. It’s funny, disconcerting, vicious, and oddly charming—all executed with little more than a couple pens, crayons, and 40 hogsheads of paper.
When I first walked into Kenan’s Highlighter and Sharpie Party last year, I felt a sense of uncanny familiarity. As it turns out, we’re both from the same part of Michigan, and our epigenetic midwestern coldness immediately bonded us. If you’re lucky, stretches of rust-belt tedium effect a productive derangement, and Notalkingplz is, to me, the current aesthetic high-water mark of where that leads. What follows came together over months of conversation, cobbled together with interrogative baby steps and undulating silences. Enjoy.
Let’s start with pleasantries. If you could pick three people to put in a locked, windowless room and have fight to the death, who would it be?
Oh man, this interview just got personal. I’m gonna go ahead and suggest a no holds barred battle of grit and grits, and say Kathy Bates, Paula Dean, and Janet Napolitano.
Obviously, Kathy Bates comes out the winner. Paula Dean’s not lasting more than a minute since her butter-heart would surely explode if she attempted combat.
Paula Dean’s butter-heart is her body’s Krang.
[[MORE]]
More pathetic: Ralph Wiggum or Bobby Hill?
Ralph Wiggum, no question. To be honest, I hate everything about King of the Hill. Can I say that? Can I admit that here?
Of course—this is a safe place. Following on the subject of taste: of the handful of repeat subjects in your work, Dragon Ball, Akira, and The Simpsons are among the most prevalent. Which had a bigger effect on you, and why?
Man that’s a tough one, but I’m gonna have to put Akira at the top of that list. I never found myself in awe of anything in Dragon Ball or on The Simpsons, entertained yes, but never in awe. Akira has played a big part from the get-go. I think Tetsuo’s transformation permanently altered my perception of bodies and masses. It was definitely what got me started on drawing stretching, melting, twisting skin and the like. Also, it had a level of technical detail that I had never seen. So I always felt compelled to study even the tiniest of details. This is a can of worms; I can’t succinctly state its importance.
As for the other two, I think Dragon Ball was my anime gateway drug, and The Simpsons was like some cool older kid at school, the kind of guy you could pick up good slang and curse words from. I guess I feel like they both just had a larger impact on the tone of my drawings.
I kind of figured Akira would rank highest of that group. Tetsuo’s transformation seems especially influential on your work’s…metaphysics, I guess? The complexity of your subjects’ disfigurements/distortions exceed Otomo’s though: enjambment with other objects, melting/stretching, and varying degrees of evisceration. What is it about torsion and mutation that so appeals to you?
In part because it’s fun to draw, but also because the end results are generally ambiguous and confusing. Especially when it comes to enjambment of entirely unrelated items, those are the most fun. I just draw different things that I like, whatever comes to mind really, and force them together visually. There’s not much more to it than that, my sources of inspiration are really fragmented.
Conceptual influences also seem really fragmented and diverse. Other than the soul-devouring torpor of Midwestern grayness, what do you consider to have strongly influenced the tonal content of your work?
Man, that’s a tough question. It’s weird for me to think about, because to me all of my drawings are jokes, but that’s just how I see them. There aren’t any coded punchlines that I expect people to get or not get. I just haphazardly jump around between ideas, some are related, and some aren’t. There’s no spanning architecture or framework to it.
As dismal as it sounds, I would cite monotony in general as the single most strongest and puzzling influence on the mood of my drawings. I feel like I’m in the movie Groundhog Day and I’m Bill Murray (is that twice now in our correspondence that I’ve likened myself to a Bill Murray character? Maybe that’s what I’m really trying to say, I subconsciously owe everything to Bill Murray.) except instead of making the most of my predicament, I’m just apathetically frittering the same day away over and over again. It sucks, but it’s also really funny to me.
Favorite: baked good, article of clothing, and professional athlete.
Baked good: What is baking? I only eat raw meats and mustard.
Article of clothing: Without a doubt, Cloak. Although I would never be so bold as to wear a cloak, I think they’re pretty cool. I wish they had never faded from popularity. Put a cloak on a fictional character and he’s cooler than fuck, but put one on a person in real life, and they’re some kind of pervert. What a cruel end for the cloak, I think we need to revive the cloak.
Athlete: Bob Probert, he was like a caveman on ice skates. Flying around the ice, sans teeth, punching the living shit out of everybody, he made for some really entertaining hockey. May he rest in peace.
Oh man, Bob Probert. Toothlessly smiling down from Cocaine Heaven, at the right hand of Fight God. Let’s go back to tedium for a moment, since I assume you’re at work right now. The inhumanity toward which you feel your self/work inevitably gravitating, the Bill Murray subject-position: is that entirely a product of repetition? Or has the torpor of work-life evolved an innate nihilism? Despite the lack of intention or intentional architecture to what you’ve done, it does read as the elaboration of something, even if “just” aesthetic. It’s hard to imagine that being solely reactionary.
I think it’s a strange mix. I don’t know how to explain it. I feel like there’s something to be said about the banality of “life sans-fascination” and it makes it even worse when you leave everything lumped into one soft limp grey pile of suck. So, instead of just letting it turn into a blob, I mold it into funny shapes. The more grey there is, the more I have to work with. It does nothing to alleviate the swelling of the blob, but it helps if you shape it into a butt, or put a tiny hat on it. Overall, I just try to have a sense of humor about the repetition of said torpor via hyperbole…and crayons. Whatever is entertaining I guess.
What do you imagine/picture in response to the phrase “everything happens for a reason?”
Everything happens for a reason, and that reason sucks.
Do you have any kind of aspiration for your work? If the rabble threw enough gold coins at you, would/could you sit in a fortress and just produce art full time?
I’m not sure. I suppose I have some aspirations, but they’re hidden in a drawer somewhere, or underneath a pile of drawings. I’d like to branch out and do something more than just draw and post, but I’m clueless and far removed from the world of art. I have no idea how I’ve gotten to where I am. When I think about it, the theme from Unsolved Mysteries starts to play, and my inner monologue is interpreted by Robert Stack standing in a shadowy room. So, needless to say, I try not to think about it. Gimme a fortress with a stable internet connection, trade the gold coins for a wellhead of ink, and I’d be all set.
Although we all know that the universe ends in a dumb and protracted heat-death, what would you choose for a different finale?
The universe wakes up, it’s 6 am, on February 2nd, “I got you babe” plays on the radio, and the universe gets up and kills itself all over again.](http://24.media.tumblr.com/6b8b34a21c12e1d0026b45501019200f/tumblr_mkswcjsVOf1rnolxfo6_500.jpg)
![Tumblin’: Notalkingplz (Kenan Bayraktar)
Kenan’s art is relentless. Its volume, intensity, skill, and nihilism are so consistent and overwhelming that his blog feels like a passage through an infinite event horizon. It’s work that exclaims universal absurdity while also particle-accelerating that meaninglessness into a sardonic mania. It’s funny, disconcerting, vicious, and oddly charming—all executed with little more than a couple pens, crayons, and 40 hogsheads of paper.
When I first walked into Kenan’s Highlighter and Sharpie Party last year, I felt a sense of uncanny familiarity. As it turns out, we’re both from the same part of Michigan, and our epigenetic midwestern coldness immediately bonded us. If you’re lucky, stretches of rust-belt tedium effect a productive derangement, and Notalkingplz is, to me, the current aesthetic high-water mark of where that leads. What follows came together over months of conversation, cobbled together with interrogative baby steps and undulating silences. Enjoy.
Let’s start with pleasantries. If you could pick three people to put in a locked, windowless room and have fight to the death, who would it be?
Oh man, this interview just got personal. I’m gonna go ahead and suggest a no holds barred battle of grit and grits, and say Kathy Bates, Paula Dean, and Janet Napolitano.
Obviously, Kathy Bates comes out the winner. Paula Dean’s not lasting more than a minute since her butter-heart would surely explode if she attempted combat.
Paula Dean’s butter-heart is her body’s Krang.
[[MORE]]
More pathetic: Ralph Wiggum or Bobby Hill?
Ralph Wiggum, no question. To be honest, I hate everything about King of the Hill. Can I say that? Can I admit that here?
Of course—this is a safe place. Following on the subject of taste: of the handful of repeat subjects in your work, Dragon Ball, Akira, and The Simpsons are among the most prevalent. Which had a bigger effect on you, and why?
Man that’s a tough one, but I’m gonna have to put Akira at the top of that list. I never found myself in awe of anything in Dragon Ball or on The Simpsons, entertained yes, but never in awe. Akira has played a big part from the get-go. I think Tetsuo’s transformation permanently altered my perception of bodies and masses. It was definitely what got me started on drawing stretching, melting, twisting skin and the like. Also, it had a level of technical detail that I had never seen. So I always felt compelled to study even the tiniest of details. This is a can of worms; I can’t succinctly state its importance.
As for the other two, I think Dragon Ball was my anime gateway drug, and The Simpsons was like some cool older kid at school, the kind of guy you could pick up good slang and curse words from. I guess I feel like they both just had a larger impact on the tone of my drawings.
I kind of figured Akira would rank highest of that group. Tetsuo’s transformation seems especially influential on your work’s…metaphysics, I guess? The complexity of your subjects’ disfigurements/distortions exceed Otomo’s though: enjambment with other objects, melting/stretching, and varying degrees of evisceration. What is it about torsion and mutation that so appeals to you?
In part because it’s fun to draw, but also because the end results are generally ambiguous and confusing. Especially when it comes to enjambment of entirely unrelated items, those are the most fun. I just draw different things that I like, whatever comes to mind really, and force them together visually. There’s not much more to it than that, my sources of inspiration are really fragmented.
Conceptual influences also seem really fragmented and diverse. Other than the soul-devouring torpor of Midwestern grayness, what do you consider to have strongly influenced the tonal content of your work?
Man, that’s a tough question. It’s weird for me to think about, because to me all of my drawings are jokes, but that’s just how I see them. There aren’t any coded punchlines that I expect people to get or not get. I just haphazardly jump around between ideas, some are related, and some aren’t. There’s no spanning architecture or framework to it.
As dismal as it sounds, I would cite monotony in general as the single most strongest and puzzling influence on the mood of my drawings. I feel like I’m in the movie Groundhog Day and I’m Bill Murray (is that twice now in our correspondence that I’ve likened myself to a Bill Murray character? Maybe that’s what I’m really trying to say, I subconsciously owe everything to Bill Murray.) except instead of making the most of my predicament, I’m just apathetically frittering the same day away over and over again. It sucks, but it’s also really funny to me.
Favorite: baked good, article of clothing, and professional athlete.
Baked good: What is baking? I only eat raw meats and mustard.
Article of clothing: Without a doubt, Cloak. Although I would never be so bold as to wear a cloak, I think they’re pretty cool. I wish they had never faded from popularity. Put a cloak on a fictional character and he’s cooler than fuck, but put one on a person in real life, and they’re some kind of pervert. What a cruel end for the cloak, I think we need to revive the cloak.
Athlete: Bob Probert, he was like a caveman on ice skates. Flying around the ice, sans teeth, punching the living shit out of everybody, he made for some really entertaining hockey. May he rest in peace.
Oh man, Bob Probert. Toothlessly smiling down from Cocaine Heaven, at the right hand of Fight God. Let’s go back to tedium for a moment, since I assume you’re at work right now. The inhumanity toward which you feel your self/work inevitably gravitating, the Bill Murray subject-position: is that entirely a product of repetition? Or has the torpor of work-life evolved an innate nihilism? Despite the lack of intention or intentional architecture to what you’ve done, it does read as the elaboration of something, even if “just” aesthetic. It’s hard to imagine that being solely reactionary.
I think it’s a strange mix. I don’t know how to explain it. I feel like there’s something to be said about the banality of “life sans-fascination” and it makes it even worse when you leave everything lumped into one soft limp grey pile of suck. So, instead of just letting it turn into a blob, I mold it into funny shapes. The more grey there is, the more I have to work with. It does nothing to alleviate the swelling of the blob, but it helps if you shape it into a butt, or put a tiny hat on it. Overall, I just try to have a sense of humor about the repetition of said torpor via hyperbole…and crayons. Whatever is entertaining I guess.
What do you imagine/picture in response to the phrase “everything happens for a reason?”
Everything happens for a reason, and that reason sucks.
Do you have any kind of aspiration for your work? If the rabble threw enough gold coins at you, would/could you sit in a fortress and just produce art full time?
I’m not sure. I suppose I have some aspirations, but they’re hidden in a drawer somewhere, or underneath a pile of drawings. I’d like to branch out and do something more than just draw and post, but I’m clueless and far removed from the world of art. I have no idea how I’ve gotten to where I am. When I think about it, the theme from Unsolved Mysteries starts to play, and my inner monologue is interpreted by Robert Stack standing in a shadowy room. So, needless to say, I try not to think about it. Gimme a fortress with a stable internet connection, trade the gold coins for a wellhead of ink, and I’d be all set.
Although we all know that the universe ends in a dumb and protracted heat-death, what would you choose for a different finale?
The universe wakes up, it’s 6 am, on February 2nd, “I got you babe” plays on the radio, and the universe gets up and kills itself all over again.](http://24.media.tumblr.com/e1bd4ddf479a5ef40403d3cdfc8687c2/tumblr_mkswcjsVOf1rnolxfo2_500.jpg)
![Tumblin’: Notalkingplz (Kenan Bayraktar)
Kenan’s art is relentless. Its volume, intensity, skill, and nihilism are so consistent and overwhelming that his blog feels like a passage through an infinite event horizon. It’s work that exclaims universal absurdity while also particle-accelerating that meaninglessness into a sardonic mania. It’s funny, disconcerting, vicious, and oddly charming—all executed with little more than a couple pens, crayons, and 40 hogsheads of paper.
When I first walked into Kenan’s Highlighter and Sharpie Party last year, I felt a sense of uncanny familiarity. As it turns out, we’re both from the same part of Michigan, and our epigenetic midwestern coldness immediately bonded us. If you’re lucky, stretches of rust-belt tedium effect a productive derangement, and Notalkingplz is, to me, the current aesthetic high-water mark of where that leads. What follows came together over months of conversation, cobbled together with interrogative baby steps and undulating silences. Enjoy.
Let’s start with pleasantries. If you could pick three people to put in a locked, windowless room and have fight to the death, who would it be?
Oh man, this interview just got personal. I’m gonna go ahead and suggest a no holds barred battle of grit and grits, and say Kathy Bates, Paula Dean, and Janet Napolitano.
Obviously, Kathy Bates comes out the winner. Paula Dean’s not lasting more than a minute since her butter-heart would surely explode if she attempted combat.
Paula Dean’s butter-heart is her body’s Krang.
[[MORE]]
More pathetic: Ralph Wiggum or Bobby Hill?
Ralph Wiggum, no question. To be honest, I hate everything about King of the Hill. Can I say that? Can I admit that here?
Of course—this is a safe place. Following on the subject of taste: of the handful of repeat subjects in your work, Dragon Ball, Akira, and The Simpsons are among the most prevalent. Which had a bigger effect on you, and why?
Man that’s a tough one, but I’m gonna have to put Akira at the top of that list. I never found myself in awe of anything in Dragon Ball or on The Simpsons, entertained yes, but never in awe. Akira has played a big part from the get-go. I think Tetsuo’s transformation permanently altered my perception of bodies and masses. It was definitely what got me started on drawing stretching, melting, twisting skin and the like. Also, it had a level of technical detail that I had never seen. So I always felt compelled to study even the tiniest of details. This is a can of worms; I can’t succinctly state its importance.
As for the other two, I think Dragon Ball was my anime gateway drug, and The Simpsons was like some cool older kid at school, the kind of guy you could pick up good slang and curse words from. I guess I feel like they both just had a larger impact on the tone of my drawings.
I kind of figured Akira would rank highest of that group. Tetsuo’s transformation seems especially influential on your work’s…metaphysics, I guess? The complexity of your subjects’ disfigurements/distortions exceed Otomo’s though: enjambment with other objects, melting/stretching, and varying degrees of evisceration. What is it about torsion and mutation that so appeals to you?
In part because it’s fun to draw, but also because the end results are generally ambiguous and confusing. Especially when it comes to enjambment of entirely unrelated items, those are the most fun. I just draw different things that I like, whatever comes to mind really, and force them together visually. There’s not much more to it than that, my sources of inspiration are really fragmented.
Conceptual influences also seem really fragmented and diverse. Other than the soul-devouring torpor of Midwestern grayness, what do you consider to have strongly influenced the tonal content of your work?
Man, that’s a tough question. It’s weird for me to think about, because to me all of my drawings are jokes, but that’s just how I see them. There aren’t any coded punchlines that I expect people to get or not get. I just haphazardly jump around between ideas, some are related, and some aren’t. There’s no spanning architecture or framework to it.
As dismal as it sounds, I would cite monotony in general as the single most strongest and puzzling influence on the mood of my drawings. I feel like I’m in the movie Groundhog Day and I’m Bill Murray (is that twice now in our correspondence that I’ve likened myself to a Bill Murray character? Maybe that’s what I’m really trying to say, I subconsciously owe everything to Bill Murray.) except instead of making the most of my predicament, I’m just apathetically frittering the same day away over and over again. It sucks, but it’s also really funny to me.
Favorite: baked good, article of clothing, and professional athlete.
Baked good: What is baking? I only eat raw meats and mustard.
Article of clothing: Without a doubt, Cloak. Although I would never be so bold as to wear a cloak, I think they’re pretty cool. I wish they had never faded from popularity. Put a cloak on a fictional character and he’s cooler than fuck, but put one on a person in real life, and they’re some kind of pervert. What a cruel end for the cloak, I think we need to revive the cloak.
Athlete: Bob Probert, he was like a caveman on ice skates. Flying around the ice, sans teeth, punching the living shit out of everybody, he made for some really entertaining hockey. May he rest in peace.
Oh man, Bob Probert. Toothlessly smiling down from Cocaine Heaven, at the right hand of Fight God. Let’s go back to tedium for a moment, since I assume you’re at work right now. The inhumanity toward which you feel your self/work inevitably gravitating, the Bill Murray subject-position: is that entirely a product of repetition? Or has the torpor of work-life evolved an innate nihilism? Despite the lack of intention or intentional architecture to what you’ve done, it does read as the elaboration of something, even if “just” aesthetic. It’s hard to imagine that being solely reactionary.
I think it’s a strange mix. I don’t know how to explain it. I feel like there’s something to be said about the banality of “life sans-fascination” and it makes it even worse when you leave everything lumped into one soft limp grey pile of suck. So, instead of just letting it turn into a blob, I mold it into funny shapes. The more grey there is, the more I have to work with. It does nothing to alleviate the swelling of the blob, but it helps if you shape it into a butt, or put a tiny hat on it. Overall, I just try to have a sense of humor about the repetition of said torpor via hyperbole…and crayons. Whatever is entertaining I guess.
What do you imagine/picture in response to the phrase “everything happens for a reason?”
Everything happens for a reason, and that reason sucks.
Do you have any kind of aspiration for your work? If the rabble threw enough gold coins at you, would/could you sit in a fortress and just produce art full time?
I’m not sure. I suppose I have some aspirations, but they’re hidden in a drawer somewhere, or underneath a pile of drawings. I’d like to branch out and do something more than just draw and post, but I’m clueless and far removed from the world of art. I have no idea how I’ve gotten to where I am. When I think about it, the theme from Unsolved Mysteries starts to play, and my inner monologue is interpreted by Robert Stack standing in a shadowy room. So, needless to say, I try not to think about it. Gimme a fortress with a stable internet connection, trade the gold coins for a wellhead of ink, and I’d be all set.
Although we all know that the universe ends in a dumb and protracted heat-death, what would you choose for a different finale?
The universe wakes up, it’s 6 am, on February 2nd, “I got you babe” plays on the radio, and the universe gets up and kills itself all over again.](http://25.media.tumblr.com/f8a86b20279c4e10467a14ed13df64d4/tumblr_mkswcjsVOf1rnolxfo5_500.jpg)
![Tumblin’: Notalkingplz (Kenan Bayraktar)
Kenan’s art is relentless. Its volume, intensity, skill, and nihilism are so consistent and overwhelming that his blog feels like a passage through an infinite event horizon. It’s work that exclaims universal absurdity while also particle-accelerating that meaninglessness into a sardonic mania. It’s funny, disconcerting, vicious, and oddly charming—all executed with little more than a couple pens, crayons, and 40 hogsheads of paper.
When I first walked into Kenan’s Highlighter and Sharpie Party last year, I felt a sense of uncanny familiarity. As it turns out, we’re both from the same part of Michigan, and our epigenetic midwestern coldness immediately bonded us. If you’re lucky, stretches of rust-belt tedium effect a productive derangement, and Notalkingplz is, to me, the current aesthetic high-water mark of where that leads. What follows came together over months of conversation, cobbled together with interrogative baby steps and undulating silences. Enjoy.
Let’s start with pleasantries. If you could pick three people to put in a locked, windowless room and have fight to the death, who would it be?
Oh man, this interview just got personal. I’m gonna go ahead and suggest a no holds barred battle of grit and grits, and say Kathy Bates, Paula Dean, and Janet Napolitano.
Obviously, Kathy Bates comes out the winner. Paula Dean’s not lasting more than a minute since her butter-heart would surely explode if she attempted combat.
Paula Dean’s butter-heart is her body’s Krang.
[[MORE]]
More pathetic: Ralph Wiggum or Bobby Hill?
Ralph Wiggum, no question. To be honest, I hate everything about King of the Hill. Can I say that? Can I admit that here?
Of course—this is a safe place. Following on the subject of taste: of the handful of repeat subjects in your work, Dragon Ball, Akira, and The Simpsons are among the most prevalent. Which had a bigger effect on you, and why?
Man that’s a tough one, but I’m gonna have to put Akira at the top of that list. I never found myself in awe of anything in Dragon Ball or on The Simpsons, entertained yes, but never in awe. Akira has played a big part from the get-go. I think Tetsuo’s transformation permanently altered my perception of bodies and masses. It was definitely what got me started on drawing stretching, melting, twisting skin and the like. Also, it had a level of technical detail that I had never seen. So I always felt compelled to study even the tiniest of details. This is a can of worms; I can’t succinctly state its importance.
As for the other two, I think Dragon Ball was my anime gateway drug, and The Simpsons was like some cool older kid at school, the kind of guy you could pick up good slang and curse words from. I guess I feel like they both just had a larger impact on the tone of my drawings.
I kind of figured Akira would rank highest of that group. Tetsuo’s transformation seems especially influential on your work’s…metaphysics, I guess? The complexity of your subjects’ disfigurements/distortions exceed Otomo’s though: enjambment with other objects, melting/stretching, and varying degrees of evisceration. What is it about torsion and mutation that so appeals to you?
In part because it’s fun to draw, but also because the end results are generally ambiguous and confusing. Especially when it comes to enjambment of entirely unrelated items, those are the most fun. I just draw different things that I like, whatever comes to mind really, and force them together visually. There’s not much more to it than that, my sources of inspiration are really fragmented.
Conceptual influences also seem really fragmented and diverse. Other than the soul-devouring torpor of Midwestern grayness, what do you consider to have strongly influenced the tonal content of your work?
Man, that’s a tough question. It’s weird for me to think about, because to me all of my drawings are jokes, but that’s just how I see them. There aren’t any coded punchlines that I expect people to get or not get. I just haphazardly jump around between ideas, some are related, and some aren’t. There’s no spanning architecture or framework to it.
As dismal as it sounds, I would cite monotony in general as the single most strongest and puzzling influence on the mood of my drawings. I feel like I’m in the movie Groundhog Day and I’m Bill Murray (is that twice now in our correspondence that I’ve likened myself to a Bill Murray character? Maybe that’s what I’m really trying to say, I subconsciously owe everything to Bill Murray.) except instead of making the most of my predicament, I’m just apathetically frittering the same day away over and over again. It sucks, but it’s also really funny to me.
Favorite: baked good, article of clothing, and professional athlete.
Baked good: What is baking? I only eat raw meats and mustard.
Article of clothing: Without a doubt, Cloak. Although I would never be so bold as to wear a cloak, I think they’re pretty cool. I wish they had never faded from popularity. Put a cloak on a fictional character and he’s cooler than fuck, but put one on a person in real life, and they’re some kind of pervert. What a cruel end for the cloak, I think we need to revive the cloak.
Athlete: Bob Probert, he was like a caveman on ice skates. Flying around the ice, sans teeth, punching the living shit out of everybody, he made for some really entertaining hockey. May he rest in peace.
Oh man, Bob Probert. Toothlessly smiling down from Cocaine Heaven, at the right hand of Fight God. Let’s go back to tedium for a moment, since I assume you’re at work right now. The inhumanity toward which you feel your self/work inevitably gravitating, the Bill Murray subject-position: is that entirely a product of repetition? Or has the torpor of work-life evolved an innate nihilism? Despite the lack of intention or intentional architecture to what you’ve done, it does read as the elaboration of something, even if “just” aesthetic. It’s hard to imagine that being solely reactionary.
I think it’s a strange mix. I don’t know how to explain it. I feel like there’s something to be said about the banality of “life sans-fascination” and it makes it even worse when you leave everything lumped into one soft limp grey pile of suck. So, instead of just letting it turn into a blob, I mold it into funny shapes. The more grey there is, the more I have to work with. It does nothing to alleviate the swelling of the blob, but it helps if you shape it into a butt, or put a tiny hat on it. Overall, I just try to have a sense of humor about the repetition of said torpor via hyperbole…and crayons. Whatever is entertaining I guess.
What do you imagine/picture in response to the phrase “everything happens for a reason?”
Everything happens for a reason, and that reason sucks.
Do you have any kind of aspiration for your work? If the rabble threw enough gold coins at you, would/could you sit in a fortress and just produce art full time?
I’m not sure. I suppose I have some aspirations, but they’re hidden in a drawer somewhere, or underneath a pile of drawings. I’d like to branch out and do something more than just draw and post, but I’m clueless and far removed from the world of art. I have no idea how I’ve gotten to where I am. When I think about it, the theme from Unsolved Mysteries starts to play, and my inner monologue is interpreted by Robert Stack standing in a shadowy room. So, needless to say, I try not to think about it. Gimme a fortress with a stable internet connection, trade the gold coins for a wellhead of ink, and I’d be all set.
Although we all know that the universe ends in a dumb and protracted heat-death, what would you choose for a different finale?
The universe wakes up, it’s 6 am, on February 2nd, “I got you babe” plays on the radio, and the universe gets up and kills itself all over again.](http://24.media.tumblr.com/c45f17d1256921b6de2402c6e03e47ef/tumblr_mkswcjsVOf1rnolxfo4_500.jpg)
Tumblin’: Notalkingplz (Kenan Bayraktar)
Kenan’s art is relentless. Its volume, intensity, skill, and nihilism are so consistent and overwhelming that his blog feels like a passage through an infinite event horizon. It’s work that exclaims universal absurdity while also particle-accelerating that meaninglessness into a sardonic mania. It’s funny, disconcerting, vicious, and oddly charming—all executed with little more than a couple pens, crayons, and 40 hogsheads of paper.
When I first walked into Kenan’s Highlighter and Sharpie Party last year, I felt a sense of uncanny familiarity. As it turns out, we’re both from the same part of Michigan, and our epigenetic midwestern coldness immediately bonded us. If you’re lucky, stretches of rust-belt tedium effect a productive derangement, and Notalkingplz is, to me, the current aesthetic high-water mark of where that leads. What follows came together over months of conversation, cobbled together with interrogative baby steps and undulating silences. Enjoy.
Let’s start with pleasantries. If you could pick three people to put in a locked, windowless room and have fight to the death, who would it be?
Oh man, this interview just got personal. I’m gonna go ahead and suggest a no holds barred battle of grit and grits, and say Kathy Bates, Paula Dean, and Janet Napolitano.
Obviously, Kathy Bates comes out the winner. Paula Dean’s not lasting more than a minute since her butter-heart would surely explode if she attempted combat.
Paula Dean’s butter-heart is her body’s Krang.
Blogs We Like: Megan Ganz
Megan Ganz’s name might not immediately ring a bell but you’ve definitely absorbed her work. Ganz wrote for the under-appreciated “Important Things with Demetri Martin” and—more notably—NBC’s Community, penning such favorites as “Documentary Filmmaking: Redux” and “Basic Lupine Urology.” Now a producer on ABC’s Modern Family, Ganz’s life has evolved from toiling in the writers’ room to endless production meetings—a transition well-evidenced in her Tumblr.
Ganz’s blog is simple. Titled “Production Notes,” it’s a collection of charming and sometimes intricate doodles presumably mapped out during the tedium of TV production meetings. Some are simple, on-the-fly patterns and others evidence a more serious investment of time. All of them, though, are great expressionist counterparts to Ganz’s eminently entertaining Twitter and her recent appearance on Pete Holmes’ You Made it Weird podcast.
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