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With Great Power #336... 22 Panels with Shelly & Philip Bond · 22 Panels - A Comic Book Podcast

• 0:00
  Shelly Bond: Oh, we didn't already stop.
• 0:03
  Tad Eggleston: Good afternoon, everybody! Welcome back to 22 Panels. My guest today, returning for… I forgot to look up what number of times, Shelly and Philip Bond, some of my favorite people in comics, they've got a new Kickstarter going called Subculture.
• 0:18
  Tad Eggleston: Let me get… let me tell you.
• 0:20
  Shelly Bond: everybody, some of my favorite people in comics. We need to have.
• 0:23
  Tad Eggleston: I…
• 0:23
  Shelly Bond: rim shot. You could have a lot of fun.
• 0:25
  Tad Eggleston: I do…
• 0:26
  Shelly Bond: Right.
• 0:26
  Tad Eggleston: No, no, see, I say that to a lot of people, because I do have a lot of favorites, but… but, like…
• 0:34
  Tad Eggleston: But I do only say it to the people that, like, I know and feel connected to, and you're among the people that I know and feel… if you were in Chicago, I would invite you to dinner.
• 0:44
  Shelly Bond: Thank you.
• 0:44
  Tad Eggleston: Yeah, exactly.
• 0:46
  Shelly Bond: I forgot the operative phrase, I used the term favor for the people I'm connected to live on 22 panels.
• 0:55
  Tad Eggleston: Except that we're not live.
• 0:57
  Shelly Bond: Remember when I did that? Recorded.
• 0:59
  Shelly Bond: On 22 panels.
• 1:01
  Tad Eggleston: But, subculture, on in-crowds and outliers,
• 1:08
  Tad Eggleston: You sent me… you sent me a rough-up, and it's… it… like…
• 1:13
  Tad Eggleston: It's not quite like… no, I love it. It's not quite like anything else you've ever done, and I say that in, like, the best possible way, because it's similar… it's similar to…
• 1:25
  Tad Eggleston: the anthologies you've been doing a lot of, where, like, everybody has an assignment, and they're tied together, and they have the, you know, pretty much the same amount of space. That's actually one of the things I like about your anthologies, is, like, you give an assignment, and you say, you get this many pages, and you need to do this many pages. It doesn't wind up being, oh, we've got a page here, we've got 5 pages here. Those are cool, too, but, like, there's something nice about the synergy.
• 1:50
  Tad Eggleston: But also, you've got these 50-word connective tissues in between, and trust me, I counted them all.
• 1:59
  Shelly Bond: Well.
• 2:00
  Tad Eggleston: Because that's how my brain works.
• 2:01
  Shelly Bond: Alright, but Tad, don't get too married to those, because those are placeholders for now. They're not all perfect.
• 2:11
  Tad Eggleston: Well, I know they're not all perfect, because some of them repeat, and a couple of times, like, the last word in one of them was the first word in the next one, and I knew that wasn't… but…
• 2:22
  Shelly Bond: That's… that's me just gobbling and, like, gluing together some ideas, because I did want to have
• 2:30
  Shelly Bond: some cohesive tissue, when introducing each section, each story.
• 2:38
  Tad Eggleston: And that's… that's where I was going, that I thought that they did well, and maybe they'll wind up doing it differently than I got to read it here, and then I'll be able to talk all the more about knowing, or diving into the process of how it works, and you know how much I love that. But what you have here is you not only have these… these…
• 2:58
  Tad Eggleston: four-page stories, but there is that connective tissue that makes you think about the… the idea of subcultures in general, and that's one of the things that I… I love about these, is they're not…
• 3:14
  Tad Eggleston: they're not even about what some of us… what some of the neurotypical people out there would consider subcultures. You know, a lot of people think, like, punk is a subculture. Punk isn't a subculture.
• 3:25
  Tad Eggleston: The subculture is when you're obsessive about that one band that never… nobody else has ever heard about, and you go on the road with them until they notice you.
• 3:35
  Shelly Bond: You've been reading that… you've been reading that Cameron Crowe autobiobook that you keep trying to get me to read, which I promise.
• 3:41
  Tad Eggleston: I have, I have, and also I got a story yesterday from a friend about…
• 3:47
  Tad Eggleston: It was a nerdy autistic baseball moment. I sent him a thing, because there's a Max Muncy on the A's, and there's a Max Muncy on the Dodgers, and the Dodgers and the A's played each other yesterday, and they both played third base, and they both batted 7th, and it turns out they were both born on August 25th.
• 4:06
  Shelly Bond: No.
• 4:07
  Tad Eggleston: 12 years apart.
• 4:08
  Shelly Bond: Whoa.
• 4:09
  Tad Eggleston: In different states, not at all related. And he immediately… and he immediately said that he was gonna need to send that to his dad, because his dad had special interest in himself into becoming kind of like the mascot of a minor league team in Tucson.
• 4:27
  Tad Eggleston: And essentially what it was is, like, he was retired, and had time on his hands, and likes long drives, and autistic, so he started going to all of the team's road games, and they noticed that this one guy was at all of the road games. That's subculture.
• 4:44
  Shelly Bond: Nope.
• 4:45
  Tad Eggleston: Love it.
• 4:47
  Shelly Bond: Yeah.
• 4:47
  Tad Eggleston: You could be a baseball fan, but being the guy that goes to all of…
• 4:52
  Shelly Bond: Yeah.
• 4:52
  Tad Eggleston: The road games of an independent minor league team.
• 4:55
  Shelly Bond: It's just…
• 4:56
  Tad Eggleston: different. Exactly.
• 4:57
  Shelly Bond: Yeah, that's the spirit, yeah.
• 4:59
  Tad Eggleston: Right. So, so, I mean, that story was in my head as I was getting to read this, and I actually have to thank you that it turned out that I got it late at night, so I had enough time to read it.
• 5:10
  Shelly Bond: Oh, boy.
• 5:11
  Tad Eggleston: Not enough time.
• 5:11
  Shelly Bond: Catastrophe happening here, sorry, Tad.
• 5:14
  Tad Eggleston: I love catastrophes.
• 5:17
  Shelly Bond: Two weeks ago.
• 5:18
  Tad Eggleston: I had enough time to read it, but not enough time to fall down any rabbit holes. Because I wanted to start… like, I had the urge to start googling everything and figuring out what was real and what wasn't, and I'm like, no, no, no, right now, I just need to…
• 5:34
  Tad Eggleston: to see the… the big picture. So… so my… my first question is just, do I have the idea of the project right? Is it, is it like…
• 5:44
  Tad Eggleston: A statement about the subcultures through a series of
• 5:49
  Tad Eggleston: Vignettes that you're gonna connect together with
• 5:52
  Tad Eggleston: Other stuff, so it's almost like a hardcover version.
• 5:55
  Shelly Bond: Yes.
• 5:56
  Tad Eggleston: ever seen.
• 5:57
  Shelly Bond: my spokesperson says yes. Yes, that, yeah, I mean, really, it's,
• 6:02
  Shelly Bond: You… other than your sports analogy, which, as soon as you start talking sports, I'm like… We both fall asleep, sorry. Like, you could be talking a different language, it's like, suddenly you start talking, sort of, Estonian or something.
• 6:17
  Shelly Bond: At the end of that, yeah. Yeah, it's all… it's… obviously, you can't cover every subculture. That'd be sort of… Right. That might even be an infinite book. It's the… but,
• 6:33
  Shelly Bond: Like, it's the never-ending…
• 6:35
  Tad Eggleston: comic, we should project.
• 6:37
  Shelly Bond: Right.
• 6:37
  Tad Eggleston: No money in it.
• 6:38
  Shelly Bond: It's a never-ending story, here we go! Yeah, what's doing subculture, too?
• 6:46
  Shelly Bond: You know, there's… Let's get the first one funded. Yeah, the interest is sort of, like, the… the… that…
• 6:53
  Shelly Bond: Those… the lines that sort of connect all the subcultures, the sort of, like, coming through… through punk.
• 6:59
  Shelly Bond: as a… as a subculture of music. Right, right. And that splits apart.
• 7:06
  Shelly Bond: And becomes all different other kinds of… punk-related.
• 7:11
  Shelly Bond: But then, sort of… but then it sort of dribbles down into the fans as well, who become sort of, like, little groups of…
• 7:19
  Shelly Bond: That they become… they become, like, the subculture more than…
• 7:23
  Shelly Bond: the thing they're idolizing, I think. Right, right. That's where the culture comes up. And I think it sort of grew from not only loving
• 7:35
  Shelly Bond: the misfits, the social disruptors, the outliers, and the in-crowds, but also just observing the extremes people go to, the fan-fanatic in all of us, and also looking at it through the ages, because I think
• 7:51
  Shelly Bond: You know, there are times in my life where all I wanted to do was find out what it would take to be a suede head. You know, I was maybe born 12 years too late, but it didn't matter, because it was an attitude, and it was also a fashion. So, I have to admit that so much of this
• 8:11
  Shelly Bond: does come from my love of music, and dancing, and going to clubs, and hearing other people's stories about the times when I was too young
• 8:21
  Shelly Bond: to go to a Bowie concert in 74. But man, I love those stories. And so it was really just reaching out to people who I thought had good… good stories to tell, or good stories to make up.
• 8:34
  Shelly Bond: About tribes from the past or even the future.
• 8:39
  Tad Eggleston: Well, and, like, to do it in comic form is, like, the perfect synergy, because the two mediums that have…
• 8:48
  Tad Eggleston: The most tribes, the most subcultures in those tribes.
• 8:52
  Tad Eggleston: The most cross-pollination and the most rivalries all at once.
• 8:58
  Tad Eggleston: our music and comics.
• 9:00
  Shelly Bond: We've got the beautiful people, and we've got the garbage people.
• 9:04
  Tad Eggleston: Right.
• 9:05
  Shelly Bond: And we're all in the same mosh pit.
• 9:08
  Tad Eggleston: Right. So yeah, no, I mean, I love the… I love also that there's a real mixture of art styles.
• 9:17
  Tad Eggleston: you know, there are times where I feel like I'm reading
• 9:21
  Tad Eggleston: reading a, like, a zine that I picked up.
• 9:24
  Tad Eggleston: at whatever Zine Fest, or Street Corner, or whatever.
• 9:28
  Tad Eggleston: Excellent. There are times where, where, like.
• 9:35
  Tad Eggleston: the art, you know, I feel like I'm getting that preview of the next Phantographics book, or whatever.
• 9:44
  Tad Eggleston: I'm looking specifically at Troubled. If Troubled was fleshed out to a couple hundred pages, it could be a Phantographics book.
• 9:51
  Shelly Bond: Right? And also…
• 9:52
  Tad Eggleston: glancing at it.
• 9:53
  Shelly Bond: Make no mistake, the best stories are always the personal stories. Oh, yeah. And that could mean they're…
• 10:02
  Shelly Bond: 40% true.
• 10:03
  Shelly Bond: You know, because that's the beauty of comics. That's why I say…
• 10:07
  Tad Eggleston: The beauty of all storytelling.
• 10:08
  Shelly Bond: Well, but that's the only.
• 10:09
  Tad Eggleston: But yeah, of course.
• 10:10
  Shelly Bond: The ultimate art form to me.
• 10:12
  Tad Eggleston: Oh, yeah.
• 10:13
  Shelly Bond: It's figuring out what to say, what to show, and what to leave out, so that the reader can have a participatory experience, just like you seem to have every time we make a book available. And we love you for that, Tad.
• 10:26
  Tad Eggleston: Thank you. Thank you. That makes me feel warm and fuzzy. I do… I'm gonna jump to Phil's story right now, because he might need to run off and…
• 10:37
  Shelly Bond: Okay.
• 10:37
  Tad Eggleston: Philip's story.
• 10:38
  Shelly Bond: No!
• 10:39
  Tad Eggleston: See, one of my problems is I now have a co-host named Phil, too, and I don't think he'd like me calling him Phillip, so, like, it gets my mind all…
• 10:48
  Shelly Bond: Tad, I don't care what you call me. I really don't.
• 10:51
  Tad Eggleston: I do, though. I care what I call you.
• 10:55
  Shelly Bond: Shelly finds it hilarious that her sister is the only one who calls me Philip.
• 10:59
  Tad Eggleston: Well, and…
• 11:00
  Shelly Bond: Yes, yeah, sorry. Listen, I have to tell you a secret. David Lapham…
• 11:05
  Shelly Bond: is not a Dave, and so 98% of the people who work with him call him Dave, and all I do is T, he, he in the background, because I know it drives him crazy.
• 11:16
  Shelly Bond: He's not a fan.
• 11:17
  Tad Eggleston: Got it right when we talked to him.
• 11:19
  Shelly Bond: I sure hope so, or I'm gonna be in the doghouse, Tad.
• 11:22
  Tad Eggleston: Well, I mean, he hasn't responded to my email, so I'm worried.
• 11:26
  Tad Eggleston: Let's get it right in the emails.
• 11:28
  Tad Eggleston: Now I'm worried. Gotta tell him I'm sorry, Shelly.
• 11:32
  Shelly Bond: I'm not speaking to Dave. Can I do a slight digress? What… is Ted short for anything?
• 11:37
  Tad Eggleston: It is, it's short for Thaddeus.
• 11:39
  Shelly Bond: I, like, figured that was the only thing I could think of, but…
• 11:44
  Tad Eggleston: Yeah, yeah, yeah.
• 11:44
  Shelly Bond: souls.
• 11:45
  Tad Eggleston: No, no, it's… well, no, it, like…
• 11:47
  Shelly Bond: with.
• 11:48
  Tad Eggleston: Here's the weird thing, and we were talking about Chris Schweiser a minute ago, so that there's even a circular thing here. So…
• 11:58
  Tad Eggleston: I have known lots of Thaddeuses in my life.
• 12:01
  Shelly Bond: Yeah?
• 12:02
  Tad Eggleston: They've all gone by Thad or TED.
• 12:05
  Shelly Bond: Rona.
• 12:05
  Tad Eggleston: a handful of other tads in my life. It was always short for Theodore, or in one case, Adam.
• 12:15
  Shelly Bond: The first…
• 12:17
  Tad Eggleston: time.
• 12:17
  Shelly Bond: It could have been Tadpole.
• 12:19
  Shelly Bond: Yeah, yeah, I got.
• 12:20
  Tad Eggleston: I called that a lot in elementary school. Thanks for bringing it up, Shelly. That really…
• 12:26
  Shelly Bond: Anytime.
• 12:26
  Tad Eggleston: It's a pleasant memory.
• 12:29
  Tad Eggleston: The resi… The first time I ever came across a Thaddeus that was also Tad.
• 12:38
  Tad Eggleston: was in 6 Skykicks of Trigger Keaton by Kyle Starks and Chris Schweiser. And apparently it's a guy they know, that they named it after. So, like, my wife even made me a t-shirt with the first panel with that guy, saying, hi, my name is Tad.
• 12:57
  Tad Eggleston: What a girl.
• 12:58
  Shelly Bond: Cool.
• 12:59
  Tad Eggleston: Well, she makes me all the cool sweatshirts. It's Jimmy today.
• 13:02
  Shelly Bond: Excellent!
• 13:03
  Tad Eggleston: But the Sienkiewicz, Jimmy.
• 13:05
  Shelly Bond: Oh. Is there any other?
• 13:07
  Tad Eggleston: No.
• 13:08
  Tad Eggleston: But,
• 13:11
  Tad Eggleston: Yeah, so I get that. I had a gym teacher that called me Thad, and she was sweet, and so she's the only one that ever got away with it.
• 13:22
  Tad Eggleston: Thaddeus is for when I'm in trouble. I don't even think I realized it was my name, rather than something that got yelled when I was in trouble until I was 3 or 4.
• 13:30
  Tad Eggleston: Because, I guess… I got my dad nickname immediately, so when Thaddeus came out, it meant something was wrong.
• 13:41
  Tad Eggleston: But, that digression aside, I want to go back to… back to Year of the Mud, because, this hit me…
• 13:50
  Tad Eggleston: on a couple levels. First, you know, it's, it's clearly… The mid-90s thing.
• 13:58
  Tad Eggleston: That is when I started to really…
• 14:03
  Tad Eggleston: get into music and rock with that era. I was kind of split between…
• 14:09
  Tad Eggleston: the Britpop coming over, and the 90s grunge scene, which is why the other one appealed to me as well.
• 14:18
  Tad Eggleston: But, but also, one of, one of my recent…
• 14:23
  Tad Eggleston: Discovery slash Fixations is Nora Jones does a podcast where she has various people on
• 14:29
  Tad Eggleston: And they play songs together and talk about music and things they've done.
• 14:34
  Tad Eggleston: And I was listening to her with Questlove, and another member of The Roots, and they were talking about
• 14:41
  Tad Eggleston: how somehow that particular year, and I think it was recorded a couple years ago, was, like, the first year… first non-pandemic year in 20 years that they hadn't spent the summer in Europe.
• 14:51
  Tad Eggleston: Because they would all get invited to the same festivals every year, so it was like… so, so, like, this remind… and I've done a couple U.S. festivals, but, like, U.S. festivals, for the most part.
• 15:04
  Tad Eggleston: from what I've heard, because I haven't got to the European Festival, don't have that same…
• 15:10
  Tad Eggleston: I mean, A, there's less of them, B, they're more like tours rather than events. So, like, to right after having heard about this.
• 15:21
  Tad Eggleston: to look at this comic that doesn't have words yet, so I get to, like, just suck in the…
• 15:26
  Shelly Bond: You can imagine it.
• 15:27
  Tad Eggleston: I can imagine a lot, like…
• 15:30
  Shelly Bond: Well, you imagined the, the, the scenario pretty well, and the, and the time period.
• 15:37
  Tad Eggleston: Well, I figured that out from the very first thing that Shelly sent me. She sent me a triptych, and I went, okay, yeah.
• 15:44
  Shelly Bond: We have to give Oliver Mertz props for that. Are you familiar with Oliver's work?
• 15:52
  Tad Eggleston: Didn't he do the… the… ghost arm?
• 15:56
  Shelly Bond: Mmm. Yes.
• 15:57
  Tad Eggleston: Right, yes, I kick-started that.
• 16:00
  Shelly Bond: Yeah, great. And that book is coming out from One Press in a.
• 16:04
  Tad Eggleston: I know.
• 16:05
  Shelly Bond: Sounds right.
• 16:06
  Tad Eggleston: And didn't he just start another Kickstarter?
• 16:09
  Shelly Bond: He did. He launched a monuments yesterday, which we backed. Oh, did we? Yeah. Oliver is a tremendous writer, and a real cool cat. He is very much someone who shares my love of the French New Wave, and you don't find those people all the time.
• 16:27
  Shelly Bond: Also likes a lot of Mumblecore and Richard Linklater's films, and is such a tremendous writer that I predict he's gonna be
• 16:38
  Shelly Bond: snatched up in a second, as soon as that book ends. As you'd know, if, like, you… I mean, if you've read any of,
• 16:45
  Shelly Bond: Ghost Arm, like, he knows his music scenes, so… Yeah, he worked at Tower Records in the early 2000s, so, you know…
• 16:54
  Tad Eggleston: See, I worked at their competitor in the late 90s, the one that wasn't as cool, but had almost as much music.
• 17:02
  Shelly Bond: Which one was that?
• 17:03
  Tad Eggleston: The one where I had to wear a blue shirt.
• 17:06
  Shelly Bond: Oh, okay. Well, that wasn't Listening Booth.
• 17:09
  Shelly Bond: That was.
• 17:10
  Tad Eggleston: No, there weren't listening booths.
• 17:12
  Shelly Bond: That was my…
• 17:13
  Tad Eggleston: No, actually…
• 17:13
  Shelly Bond: He's…
• 17:15
  Tad Eggleston: It's not entirely true, because the one that I ran, aside from being the biggest one in the company, which meant that, like.
• 17:24
  Tad Eggleston: We had, I think, almost 200,000 CDs.
• 17:28
  Tad Eggleston: On the floor at any given time.
• 17:30
  Shelly Bond: Wow.
• 17:30
  Tad Eggleston: We were the last… we were the last one to have listening stations. So, at any given… at any given time, I had…
• 17:37
  Tad Eggleston: you know, you didn't get to pick out anything, but I had, like, 30 CDs up where you could pull the headphones and press the button and listen.
• 17:45
  Shelly Bond: Our listening booth was just, you know, was in name only. I don't ever remember picking up headphones and just listening to the music I was about to buy.
• 17:55
  Tad Eggleston: Yeah, no, no, like, now you just… now you just gave me a new part of what would be my dream comic shop, though. I mean, my dream comic shop would already include vinyl, but it would need to have a listening booth.
• 18:07
  Shelly Bond: Yeah.
• 18:07
  Tad Eggleston: I like this idea.
• 18:09
  Tad Eggleston: I like this idea.
• 18:10
  Shelly Bond: We're reading…
• 18:11
  Tad Eggleston: Because I… oh, no, it would have reading. Couches and chairs and stuff. That's…
• 18:17
  Tad Eggleston: I've never understood the comic shop that says, we're not a library. I'm like, I know that you want it, you need to make money and whatnot, but the more they read, the more they'll buy. Just trust me on this one. Yeah.
• 18:30
  Shelly Bond: Right.
• 18:31
  Tad Eggleston: Let's… know.
• 18:33
  Shelly Bond: Let them experience the merchandise. They will come back.
• 18:38
  Tad Eggleston: I mean, I would be the, like, I even have it planned out, and it's something that I've pitched, but I haven't seen anybody do. You know, libraries get a lot of comics, and the first thing they'll do is…
• 18:47
  Tad Eggleston: they'll, like, contact paper the covers and whatnot, just to keep them together longer. Yeah. Any number one of anything that I thought somebody might want to read, I do that to a copy to just have it out so somebody could go…
• 19:02
  Tad Eggleston: Get the taste.
• 19:04
  Shelly Bond: Hmm, that's cool. Yeah.
• 19:06
  Shelly Bond: Yeah, good idea. I think, we have a laminating machine. We will put it to use. I love.
• 19:13
  Tad Eggleston: Yeah.
• 19:14
  Shelly Bond: But I want to say something about Philip's story.
• 19:17
  Tad Eggleston: Sure.
• 19:18
  Shelly Bond: Philip has been drawing comics, I think, since he was a teenager. Yeah. If the stories are true. And the thing that people love about Philip is that he will…
• 19:28
  Tad Eggleston: I mean, I feel like he's been drawing comics earlier than that.
• 19:30
  Shelly Bond: Oh, he's good.
• 19:31
  Tad Eggleston: Right.
• 19:32
  Shelly Bond: Alright.
• 19:32
  Tad Eggleston: It's been publishing comments.
• 19:34
  Shelly Bond: Let's rewind. Let's rewind a minute. Philip has been drawing since he could hold a pencil and call it his best friend, okay? Right.
• 19:42
  Shelly Bond: But when Philip wants to draw a story.
• 19:46
  Shelly Bond: Which is very rare. He draws the hell out of the story, and he actually…
• 19:51
  Shelly Bond: noticed Oliver's script come in.
• 19:55
  Shelly Bond: read it and said, I'll have that. I would love to illustrate that. I always like writers to come to me without artists attached, because part of the fun of curating and editing is to pair them up with someone that they least expect.
• 20:10
  Shelly Bond: And meet cute on the page, as they say, which is such a… ugh, I wince when I say that, but it's true. How do people connect on the page? And…
• 20:19
  Shelly Bond: the most genius idea I ever had was tricking you, Philip, into reading Will Potter's pitch for Geezer. So it was kind of like the same thing. I know how these things go now. I know how these things go. I know, it's like, if Shelley asks me to read something, like, something like that, it's more of a sort of…
• 20:43
  Shelly Bond: Do you think you'd like to do this kind of thing? Why not?
• 20:47
  Shelly Bond: And I knew I wanted to do one of the stories in subculture. I wanted you to write one.
• 20:52
  Shelly Bond: But I didn't know if you were gonna just actually turn it down. Wrand draw, or just write one? No, I wanted you to write and draw one. I think you're a terrific cartoonist, and you don't like to use that language. I'm not there yet. I want to be there, but I'm not there yet. And also, if you asked for that, your book would definitely be late. Yeah, well, there's.
• 21:12
  Tad Eggleston: You know.
• 21:13
  Shelly Bond: There's that. So, yeah, I tried to, like, hedge my bets.
• 21:17
  Tad Eggleston: You'd have to plan the fill-in issues for the book.
• 21:20
  Shelly Bond: Yeah.
• 21:22
  Shelly Bond: Yeah. But I knew I wanted to do one of the stories, and, I, like, knowing… knowing Oliver's work, I, like, kind of wanted to work with him.
• 21:32
  Shelly Bond: And… and also, like, he's a colorist as well, so he's doing some really nice colors on it. And it's…
• 21:39
  Shelly Bond: To me, it's… it's… it's definitely very Geezer. Like, this… you know, the stuff I've been doing on Giza is set, sort of, like, around the… in the early 90s, sort of, up to 95 or so.
• 21:55
  Tad Eggleston: Right.
• 21:56
  Shelly Bond: And this one… this story is actually set in 97.
• 21:59
  Shelly Bond: So…
• 22:00
  Shelly Bond: it's… it could… it could easily be set, sort of, in the same world. You called it geezer Adjacent yesterday, which was great, because I've always considered myself New Wave Adjacent. New wave adjacent, yeah. So, geyser Adjacent is cool. Yeah.
• 22:15
  Shelly Bond: So, like, it could well be in the same world that they live in, which is almost the same world we live in anyway.
• 22:23
  Shelly Bond: But yeah, it's… but it's… it's about the fans. It's… there's very… there's… Yeah.
• 22:30
  Shelly Bond: It's just all about the fans who trail through hell and high water to get to see their favourite bands.
• 22:37
  Shelly Bond: And who their favorite bands are, and which favourite band is better than the other. And how they might not actually make it to the show if they don't answer. That's enough now. Okay. I'll stop.
• 22:50
  Tad Eggleston: No, no, no spoilers. That's fine.
• 22:53
  Shelly Bond: I've already seen the offer.
• 22:55
  Tad Eggleston: That's for the after… after it's been released. Yes.
• 22:59
  Shelly Bond: Okay. Yeah.
• 23:01
  Tad Eggleston: Though, there's a part of that that, like, one of the reasons that I love that…
• 23:07
  Tad Eggleston: You gave them 4 pages?
• 23:10
  Tad Eggleston: is…
• 23:13
  Tad Eggleston: All of these, like, most of them really fall into my favorite sort of short fiction, where it's not quite flash fiction, but it's also not
• 23:24
  Tad Eggleston: quite beginning, middle, and end stories. It's like, let me throw you in.
• 23:31
  Tad Eggleston: And at some point, we're gonna fall out. Right.
• 23:34
  Shelly Bond: Alright, it'll be…
• 23:35
  Tad Eggleston: Kind of satisfying. It'll be kind of satisfying, but it won't really be an ending.
• 23:40
  Shelly Bond: Well, you're gonna want more. The four-page story, to me, is the perfect short story. Yeah, I love that, really, because if you want to do an anthology, in my opinion, if you don't set some parameters right from the jump.
• 23:55
  Shelly Bond: Some of the stories coming in are gonna need severe editing. Some of them are going to not have enough meat.
• 24:01
  Shelly Bond: And some of them are just not going to make sense. So I think when you give people
• 24:07
  Shelly Bond: A number like 4.
• 24:10
  Shelly Bond: You're guaranteed to at least push people to figure out
• 24:15
  Shelly Bond: a decent ending. It doesn't have to be wrapped up in a bow, and I hate those kinds of endings, but hopefully there's enough space that you can figure and find your way out, and enjoy the characters that you follow as you get there.
• 24:31
  Tad Eggleston: Yeah.
• 24:32
  Tad Eggleston: I mean, of the ones that I read, again, I feel like you… you hit that…
• 24:39
  Tad Eggleston: on the button. Yeah. And it's another one of those…
• 24:43
  Shelly Bond: This sounds like a, kind of like a TV, like, sketch show thing, where, like, you're, like, running from one…
• 24:50
  Shelly Bond: thing into another thing, and each thing… you're sort of, like, dropped into a situation, and there'll be a… there'll be a line at the end, and then you'll be into the next thing. And I think that's what makes the anthology such, like, an important…
• 25:07
  Shelly Bond: part of the comic's art form. It's so necessary, people have such harsh feelings about them, and to me.
• 25:15
  Tad Eggleston: I'm so happy that they're… they're… they're…
• 25:19
  Shelly Bond: Well, most of them, I think, most of them fail, I think, because they don't have a theme, and they don't have one person
• 25:26
  Shelly Bond: sort of setting up a few constraints along the way, but that's my personal opinion. I've bought many anthologies on Kickstarter that I've just enjoyed, or tried really hard to enjoy without, like, my editing brain on, because I was just immersed in the style of the art, you know, or I was just immersed in, like.
• 25:46
  Shelly Bond: You know, seeing some new, fresh.
• 25:48
  Shelly Bond: art and voices and styles on the page, but…
• 25:54
  Shelly Bond: the kind of anthology that I like to do, I hope, will not only resonate with people from all ages, from all parts of the world.
• 26:03
  Shelly Bond: the… I hope that people are inspired to make their own And…
• 26:10
  Shelly Bond: inspired to write their own 4-page story. It's a lot harder than a 20-page story.
• 26:15
  Tad Eggleston: Yeah?
• 26:17
  Shelly Bond: It's as hard as a one-page story.
• 26:19
  Shelly Bond: But I want people to be inspired, educated, and entertained, and just, like, feel like they've had a blast, like, hanging out with the people that actually joined this particular comics coterie. Because I like to think
• 26:34
  Shelly Bond: I bring in disparate people for a reason, people that have something to say, and people that can write and draw with intent.
• 26:42
  Tad Eggleston: Yeah.
• 26:43
  Tad Eggleston: I mean… That's… I can't wax any more poetic about that than I already have.
• 26:51
  Shelly Bond: Now you're just trying to get me to call you my favorite podcaster.
• 26:54
  Tad Eggleston: No, no. John Suntress has been doing it longer. I get that you guys have the older bond.
• 27:01
  Shelly Bond: You don't have that Brian Ferry connection that John has, that one day I'm gonna have to ask him to use. You know, I'm gonna want that magic phone number one day. But until then… That's true. But until then, we adore you as well, because you get us.
• 27:16
  Tad Eggleston: Well, and, and, and, you know…
• 27:17
  Shelly Bond: Yeah.
• 27:18
  Tad Eggleston: Mostly, I was just… I'm always trying to come up with something new to say about Shelley, so that… I wasn't trying to butter you there as much as I was trying to formulate a thought and not have dead air at the same time, which is sometimes hard for me.
• 27:33
  Shelly Bond: Indy.
• 27:34
  Tad Eggleston: I think… I think what I was… part of what I was thinking about is, because, like I said, anthologies, I think, have come back much more than they were
• 27:43
  Tad Eggleston: 20 years ago in comics.
• 27:45
  Shelly Bond: Sure.
• 27:45
  Tad Eggleston: And there are really two types of anthologies, and you're the queen of doing the type that gets done less, which is, like you said, the much more structured… you know, the two types of anthologies are
• 28:01
  Tad Eggleston: we're gonna do a structured anthology where there are assignments. We're not… we're not going out and finding stuff that's already done and putting… you know, one of them is like a sample anthology, and one of them is, this is…
• 28:12
  Tad Eggleston: Some really talented people
• 28:16
  Tad Eggleston: doing this, and you are doing that as well, or better than almost anybody right now.
• 28:22
  Shelly Bond: Aw, thanks.
• 28:23
  Tad Eggleston: Certainly, anybody that I can put a name.
• 28:24
  Shelly Bond: It's expensive. It's expensive.
• 28:26
  Tad Eggleston: It's a huge.
• 28:27
  Shelly Bond: That's.
• 28:27
  Tad Eggleston: Absolutely.
• 28:28
  Shelly Bond: you want to get good work. You know, you can… you can do an anthology with, like, all your mates and everything, and get everybody to do it for nothing, but you're… you know, you're…
• 28:38
  Shelly Bond: I mean, unless your mates are, like, really great artists who can give away work for free, you're not gonna have… Right.
• 28:45
  Shelly Bond: No, you're not gonna have any big names, like, so that's also difficult to fund.
• 28:52
  Tad Eggleston: The other thing is that, I mean, you are doing it through Kickstarter, and you're doing it as graphic novels, because, like, a lot of the other anthologies right now are…
• 29:01
  Tad Eggleston: you know, the EC stuff at Oni has been pretty good. Hello Darkness at Boom has been pretty good. DC's been doing some interesting themed anthology. I mean, I loved their DC Goes Mad that they did recently, where everybody got to…
• 29:18
  Tad Eggleston: to mock the DC Universe and pay homage to their favorite mad people. You know, but…
• 29:26
  Tad Eggleston: But I think it's harder to put together,
• 29:31
  Tad Eggleston: A concerted anthology that's 128 pages, rather than 24 or 64, that… that involves…
• 29:44
  Tad Eggleston: some known talent, some less-known talent, paying everybody on a theme, real editing going on. I mean, this thing that you're doing is a really amazing thing that I think is…
• 29:56
  Tad Eggleston: like, I think you're quietly being a tastemaker again,
• 30:02
  Tad Eggleston: I mean, not that you ever stopped being a tastemaker, but the way Vertigo… the way Vertigo revolutionized comics…
• 30:10
  Tad Eggleston: In… the, the, the early 90s to the early…
• 30:15
  Shelly Bond: Yeah.
• 30:18
  Shelly Bond: Nope.
• 30:19
  Tad Eggleston: What you've been doing, like, since you first put out…
• 30:23
  Tad Eggleston: Which was the first… was it Femme?
• 30:25
  Shelly Bond: Winter today.
• 30:25
  Tad Eggleston: There was one right before that, yeah. No, I meant, I meant.
• 30:28
  Shelly Bond: I did winner, I did winners.
• 30:29
  Tad Eggleston: Starter Apologies.
• 30:31
  Shelly Bond: Oh, I'm sorry. I thought you were talking about…
• 30:33
  Tad Eggleston: Jardess.
• 30:34
  Shelly Bond: Yes. That manifique was 2016.
• 30:37
  Tad Eggleston: Right.
• 30:38
  Shelly Bond: Hey, Amateur, after that, and insider art.
• 30:42
  Tad Eggleston: Right. Since you started putting out anthologies, they have…
• 30:47
  Tad Eggleston: reappeared in all sorts of different areas. They've become a bigger thing on Kickstarter, though not as… not all being equal, some of them being much more, hey, let's give these people an opportunity.
• 31:01
  Shelly Bond: Which is great, too. Yeah. And again, like, to be able to put together zines with your friends, and listen, to even, get yourself
• 31:12
  Shelly Bond: just… just get visible. You know, it's something I always say to people, it's two words, but you have to have no fear. But you can do that with a community. I think a book like Subculture, the reason why it's hardcover, and the reason why it's upscale, it's oversized, it's 8.5 by 11,
• 31:30
  Shelly Bond: I wanted the aspect ratio to feel more like an art book.
• 31:33
  Shelly Bond: The reason why it's expensive is, yes, because we're paying people fairly, I think, but also.
• 31:40
  Shelly Bond: Because it's a sophisticated form of storytelling, and it's…
• 31:46
  Shelly Bond: We want to rally the troops. We want to show people that there are many sides of anthologies, but the ones you've been talking about, you know, at the smaller publishers and the mid-sized publishers, they're necessary for
• 32:00
  Shelly Bond: opening up your eyes and discovering new talent. And that's something that I think the big companies are still afraid to do, because they don't trust their instincts, because they don't really understand comics.
• 32:11
  Shelly Bond: Comics are… Words and pictures.
• 32:15
  Shelly Bond: coming together on the page, but not just thrown together on the page, and there's a nuance to the editing that's involved, and so…
• 32:23
  Shelly Bond: you know, I just… all I can say is that we're entering our sixth decade this year. Yeah. The two of us, he's first.
• 32:30
  Tad Eggleston: I don't believe it. I think you're lying.
• 32:33
  Shelly Bond: Thank you, but…
• 32:35
  Tad Eggleston: I mean, maybe Philip.
• 32:36
  Shelly Bond: Oh, there you go. This is the reason why I'll talk to Tad about anything. But the truth of the matter is, like, now.
• 32:44
  Shelly Bond: because we're in the later stages of our life, it's like, let's just make the kind of comics we've always wanted to make, let's… let's make our personal work, but let's also pay it forward, because I would much rather look at
• 32:59
  Shelly Bond: The kid out of art school, who will probably never get a shot
• 33:05
  Shelly Bond: in this landscape of getting published at, like, one of the big two. So, if that person has talent in my eyes, and I'm not running an imprint, well, I would love to get my hands on them anyway. Right. I would love to art direct them, and that's really how my
• 33:23
  Shelly Bond: graphic memoir trilogy came together, and with great thanks to everyone who helped me with that first book, Filth and Grammar, Imogen Mangle, Laura Hull, Sophie Dodgson, Mark Buckingham, and lots of other people along the way. If I didn't have that support.
• 33:42
  Shelly Bond: back then.
• 33:43
  Shelly Bond: I wouldn't have had the guts to continue writing, which I hate.
• 33:48
  Shelly Bond: More than doing the dishes, cleaning a lid.
• 33:51
  Tad Eggleston: Oh my.
• 33:52
  Shelly Bond: and watching bad TV.
• 33:57
  Tad Eggleston: That's… That's kind of crazy, because you're pretty good at it.
• 34:02
  Shelly Bond: Well, thanks, but I don't believe you again.
• 34:07
  Tad Eggleston: Okay.
• 34:08
  Shelly Bond: The best part of writing comics is knowing that if the artist is present and delivers, there will be fewer words on the page, and that's the.
• 34:19
  Tad Eggleston: Well, I also think there's…
• 34:21
  Shelly Bond: As a writer, in quotes.
• 34:23
  Tad Eggleston: I mean, the other thing I'll say is that, like, you know…
• 34:28
  Tad Eggleston: what you want to write and how you want it to sound. Which is, like, the biggest key for any writer is deciding who they are as a writer, so you… you don't…
• 34:37
  Tad Eggleston: You don't try to go out and make the next…
• 34:41
  Tad Eggleston: Shade the Changing Man. You make the next Shelley Bond comic.
• 34:46
  Tad Eggleston: Yeah, no.
• 34:47
  Shelly Bond: much. I, I've never.
• 34:49
  Tad Eggleston: Never had an.
• 34:49
  Shelly Bond: great expectations or dreams of being a famous writer, or being any kind of writer.
• 34:54
  Tad Eggleston: But what you totally accomplish is your comics are… I've only, like, seen a couple of Zoom clips, but I assume that, to a certain extent, your comics are like being in your classroom.
• 35:09
  Tad Eggleston: You know.
• 35:10
  Shelly Bond: Wow.
• 35:10
  Tad Eggleston: Where you're not only learning stuff, but you're learning stuff with a heavy dose of…
• 35:17
  Tad Eggleston: of, I'm not just teaching you this, I've lived this.
• 35:21
  Shelly Bond: Right.
• 35:22
  Tad Eggleston: Let me keep you interested by throwing in this anecdote, or this thing that happened that went catastrophically wrong.
• 35:30
  Shelly Bond: Honestly, when I teach at Portland State, Comics Editing, just wrapped up the fourth semester.
• 35:37
  Shelly Bond: I can only hope and pray that the students that show up for class
• 35:42
  Shelly Bond: Most of them use their cameras and do not turn them on, so I kind of am teaching myself again. I hope they enjoy it. They certainly get decent marks. I think by week 7, they start to get it, but I… as an instructor, I have no idea if I'm really getting through.
• 36:00
  Shelly Bond: Phil, I'll tell you otherwise. Yeah, the results…
• 36:05
  Shelly Bond: Speak for themselves, let's say that.
• 36:08
  Tad Eggleston: You know…
• 36:08
  Shelly Bond: That's what…
• 36:09
  Tad Eggleston: That's what we all try to tell ourselves, but… but…
• 36:13
  Tad Eggleston: No, as a teacher, Shelly, all I have to say to that is welcome to teaching.
• 36:18
  Tad Eggleston: Right?
• 36:19
  Shelly Bond: I mean, the only thing I have to…
• 36:21
  Tad Eggleston: 20 years from now, when that horrible student that drove you up the wall bumps into you and tells you how you changed their life, is when you'll finally decide that you were a pretty good teacher.
• 36:31
  Shelly Bond: Well, you do get that. You've… you get people, like, coming to you and saying that,
• 36:37
  Shelly Bond: You know, the… What they learned in your class?
• 36:41
  Shelly Bond: put them on a different level. Well, I think what… And really sort of kick-started a career in some cases. Well, what I try to do, and it's the only way I can chart my efforts, is we put together a class anthology every year. So it's a Hey Amateur anthology for Portland State University.
• 36:59
  Shelly Bond: And of course, Tad, this will come as no surprise to you. Every year there's a theme.
• 37:05
  Shelly Bond: And so this year with family, and so I think the way that I get English majors who have never drawn, and never even thought about writing comics, the way I get them in is by saying, you're gonna tell me you can't draw, and I can't draw.
• 37:19
  Shelly Bond: You're gonna draw, and write, and color, and letter, and edit your own comic.
• 37:24
  Shelly Bond: And I'm gonna critique it, and you're gonna critique me. And that's how we're gonna make great comics, because the course is called Comics Editing. You can't be a comics editor if you don't know the parlance. You don't know how to speak to every person involved.
• 37:37
  Shelly Bond: in making the comic, so that's how I explain why filth and grammar
• 37:43
  Shelly Bond: Is about filth, meaning ink on your hands.
• 37:46
  Shelly Bond: It's not about, you know, studying Robert Crum, who is filth in his own way, but it's about really putting the fear aside. It's getting your hands dirty.
• 37:59
  Shelly Bond: And I talk about it, and I guess I do enjoy it more than I admit.
• 38:03
  Shelly Bond: And I guess I'm proud of it, but I'm happy to be on summer vacation, and you're probably on summer vacation.
• 38:08
  Tad Eggleston: Oh, I'm… Right? I'm ridiculously happy to be on summer vacation. That's the other thing about… I mean, like, my wife and I were watching a Simpsons episode earlier today where… where, like,
• 38:23
  Tad Eggleston: Edna is telling the teachers that they discovered that the clocks had been running fast all year, so they were gonna have to stay for 2 extra hours, and Bart looks into his desk where he's got the clock manipulator thing as everybody's… and Edna's laughing, and Kelly and I are like.
• 38:38
  Tad Eggleston: No teacher would be happy that they had to stay.
• 38:41
  Shelly Bond: Right?
• 38:42
  Tad Eggleston: Extra hours. Right? That's hilarious.
• 38:45
  Shelly Bond: Love it.
• 38:46
  Tad Eggleston: I mean, that's the thing that, like, I totally tell my students near the end of the year when they're going nuts. I'm like, if you think that you're more excited to get out of here than we are, you're insane.
• 38:58
  Shelly Bond: How many times have we started typing or singing? School's out for? Ever? Yeah.
• 39:07
  Tad Eggleston: So, before I roll into final questions, because I know we're on a bit of a timeline, I do want, just because you do have…
• 39:16
  Tad Eggleston: such a disparate but cool set of writers and artists. If you would highlight
• 39:24
  Tad Eggleston: just a handful of things that really blew you away. Either one of you. Phil, if you wanna… Philip, if you wanna talk about how much you were blown away by your own work, that's always cool, but you have to refer to yourself in the third person.
• 39:36
  Shelly Bond: me to work in this book? Yes.
• 39:38
  Tad Eggleston: Yes.
• 39:39
  Shelly Bond: this book, because don't forget, well, just so your listeners know, it's not just comics, it's a collision of
• 39:46
  Shelly Bond: Photos, essays, illustrations… it's…
• 39:53
  Tad Eggleston: Yeah, I mean, it really is a hardcover… Zine.
• 39:59
  Tad Eggleston: Only, only, only, only rather than being the hyper-focused subculture zine, it's, like, a best of…
• 40:08
  Tad Eggleston: X number of hyper-focused subculture zines put together in a way that it's THE subculture zine about subcultures.
• 40:17
  Shelly Bond: That's a hell of a punk club. I guess, like, I'm looking… I'm looking here at, Shelley's punk, sort of.
• 40:25
  Shelly Bond: Collection. I'm looking at this, really. Well, yeah. I hope your books aren't gonna fall over now.
• 40:31
  Shelly Bond: You know, this… this being a sort of, you know, the best of punk magazine, it's like… it's almost like, sort of…
• 40:41
  Shelly Bond: You know, seeing this, It's almost like subculture is a best-of collection of
• 40:48
  Shelly Bond: subculture zines, you know, as this is best of punk magazine. Which was a huge influence on me. Subculture, when it arrives as a hardcover, it's not going to be as thick as this, but it… it could feel like the best of
• 41:06
  Shelly Bond: you know, 10 years' worth of themes, just sort of, like, the best stories, the best features. Well, getting a compliment like that from the creative director at Off-Register Press.
• 41:17
  Shelly Bond: is something else. I am gonna have lunch off of that for the next few months.
• 41:23
  Tad Eggleston: Excellent.
• 41:24
  Tad Eggleston: I have a good deli nearby, or whatever your favorite lunch is.
• 41:29
  Shelly Bond: sometimes it's, it's a Diet Coke can.
• 41:33
  Shelly Bond: I had… to talk about standouts in this collection isn't fair, because… Oh, it's not fair on you.
• 41:41
  Tad Eggleston: Which is why I very specifically did not say standouts.
• 41:45
  Shelly Bond: Okay.
• 41:45
  Tad Eggleston: I know better than… I know better than to make you pick.
• 41:48
  Shelly Bond: You can't have favourite songs.
• 41:49
  Tad Eggleston: I said…
• 41:50
  Shelly Bond: People are enjoying it.
• 41:51
  Tad Eggleston: I didn't even say favorites. I said, just talk about a few that you feel like talking about.
• 41:56
  Shelly Bond: You did?
• 41:58
  Tad Eggleston: Yeah.
• 41:58
  Shelly Bond: Okay. Well, first of all, let me just say that if you're invited into this book, already, like…
• 42:08
  Shelly Bond: that's a pretty high bar. And, honestly.
• 42:12
  Shelly Bond: I really wanted to work with some of these people for a very long time. You know, like.
• 42:19
  Shelly Bond: sometimes just schedules just don't work, and that's another great thing about an anthology. Sometimes, you know, you've known someone for 20 years, and you're just…
• 42:30
  Shelly Bond: you just can't get on the same page, you know, they're on a contract, or you don't have the project, and it's always a bummer, right? Or maybe you hire them and they just don't show up and deliver. So, that happens over the years, and you don't… you don't take it personally on either side.
• 42:46
  Shelly Bond: But, first of all, I think I'm just going to go through, and I'll go through quickly, because I know we have about 15 minutes, but I'd like to kind of salute and say something about everybody in this book, and I'm going to go through it… I'm going to go through it chronological. It's handy that you've got a list there. It's handy that I have a list. It's handy that I have a dummy book in front of me.
• 43:04
  Shelly Bond: I want Philip to also say something, I don't want it to just be me, but we'll start with…
• 43:08
  Shelly Bond: Lid Tom, who, as you know, because you were one of my huge supporters of my first book I did with Lindsay Thomason, aka Art by Lyd, Lid Tom. It was Record Thieves Like Us, and I was so proud of that book.
• 43:25
  Shelly Bond: found Lindsay by scrolling through Instagram, reached out to her on a whim, real short message, hey, looks like you might be into comics, have you ever drawn a comic?
• 43:35
  Shelly Bond: I would love to hire you to do something for me. And we started with single illustrations. We worked so well together, and trust me, she could be my granddaughter. She's that much younger than me. I'm not kidding. Her mom is 2 years older than me.
• 43:50
  Tad Eggleston: Hey, I got grandkids, so you don't have to…
• 43:53
  Shelly Bond: Oh, I know that. I know you're… we're in good company with you. But the thing about Lindy is we worked so well on a book that had
• 44:01
  Shelly Bond: just prose and single illustration. I said, hey, do you want to try a short comic? And she said, sure. I didn't know
• 44:09
  Shelly Bond: That she was already doing her own personal work.
• 44:11
  Shelly Bond: But I thought, God, she's just a natural, not unlike Imogen Mangle. So, we just kept working together. Are you gonna have a story like this for everyone in the book? No, I'm not, I'm not. So, Lindsey, slam dunk, always wanted Lindsay to do a cover. She got cheated out of the cover for I Doppelganger, and that wasn't her fault. She did a great cover. I just, at the end of the day.
• 44:33
  Shelly Bond: had a different idea for the final cover in the trilogy. So here she is, she's doing…
• 44:38
  Shelly Bond: A wraparound cover and then some, because, Tad, it not only extends to the inside front cover, it extends to the inside back cover. We make a 10x48 inch poster out of it for the Culture Vulture tier, and I know you know because you're getting it.
• 44:56
  Tad Eggleston: I am. I may have backed at that tour.
• 44:59
  Shelly Bond: You have, and I appreciate it.
• 45:01
  Tad Eggleston: That may not have been an accident regarding, like, extra swag, including.
• 45:05
  Shelly Bond: Wow.
• 45:06
  Tad Eggleston: Oh, you love…
• 45:07
  Shelly Bond: You always get extra swag, but you're gonna love it.
• 45:08
  Tad Eggleston: Queen of… you're the queen of the swag.
• 45:12
  Shelly Bond: We can't help ourselves. I said to someone yesterday, I'm never ever gonna admit that we publish comics as books to publish just the books. We publish them so we can make the stickers and swag.
• 45:25
  Shelly Bond: Well, we always did, like, I, I think our, I, I think our… sort of…
• 45:31
  Shelly Bond: Our motto at the moment.
• 45:34
  Shelly Bond: or, like, for the future now, is sort of make the things you want to see in the world. You know, like…
• 45:40
  Shelly Bond: We wanna… we make the books that,
• 45:42
  Shelly Bond: we make the books that we want to see. Like, I… like, that's… that's the only reason I'm drawing at the moment. I just… I'm just, like, making things that I want. And it's the same with all the merch and the stuff that we…
• 45:55
  Shelly Bond: all the add-ons we do, it's just because we want to have them. And we don't wear t-shirts, right? Yeah. Who doesn't want a Philip Bond cat, you know? Like, the badges, because we want the badges. A Philip Bond sticker like this that you are going to get, Tad.
• 46:09
  Tad Eggleston: Oh, yeah.
• 46:10
  Shelly Bond: Gonna be mailed to you, because you are…
• 46:12
  Tad Eggleston: We'll go on something.
• 46:12
  Shelly Bond: order of FilthyGrammar.com, and I love you for that.
• 46:16
  Tad Eggleston: I mean, I mean, I have, I have your hack pack on my computer here.
• 46:20
  Tad Eggleston: If I have any other…
• 46:22
  Shelly Bond: Look at you. I guess that's the only one.
• 46:24
  Tad Eggleston: Shelly… Shelly sticker on my computer. I have others on comic boxes, and…
• 46:29
  Shelly Bond: I'm gonna just jump in to talk about El Pidge. So, Pidge is a tremendous cartoonist.
• 46:35
  Shelly Bond: Pidge is a teacher. Art teacher.
• 46:38
  Tad Eggleston: ice.
• 46:38
  Shelly Bond: At her day job.
• 46:40
  Shelly Bond: Pidge pitched me a story about a social disruptor, and it's so badass, and it's… it opens the book.
• 46:50
  Shelly Bond: When you saw that story, you were probably like, oh my god.
• 46:54
  Shelly Bond: Right?
• 46:56
  Tad Eggleston: Buzz.
• 46:57
  Shelly Bond: Alright.
• 46:58
  Shelly Bond: We also, and again, I'm gonna go chronologically just because I have it in front of me, we've got
• 47:04
  Shelly Bond: as Amina Hollingworth, who is a wonderful young talent, out of England.
• 47:10
  Shelly Bond: Lives in London, works in Oxford, did a story on Rockabilly, which I love because she's 23, but she's an old soul, and she gets it.
• 47:22
  Shelly Bond: We've got…
• 47:24
  Shelly Bond: Lynn Tom's story, set in the 70s, about a pair of sisters, sisters who are groupies.
• 47:31
  Shelly Bond: Then, of course, we've got
• 47:33
  Shelly Bond: The man, the myth, the legend, aka Peter Milligan. The Milligan. The Milligan, as he's called around here. And, a story that only he could tell.
• 47:45
  Shelly Bond: And it's drawn by James Romberger, who you might recall actually collaborated with him on a Vertigo crime book back in the eons ago, A Bronx Tale.
• 47:57
  Tad Eggleston: Oh!
• 47:58
  Shelly Bond: this time, you're really in for a treat, because James is not only drawing it, but he's coloring, and he's doing the lettering, and his lettering is an art form in and of itself. I love his lettering, he hand letters. Brilliant story.
• 48:13
  Shelly Bond: We've got Marguerite Van Cook, who does an essay, on what New York was like in 1979, and believe me, people, it was a different New York than you've seen in the movies.
• 48:27
  Shelly Bond: Marguerite, who is married to James.
• 48:30
  Shelly Bond: is not only a brilliant colorist, but she was… she had a band, and her band opened for The Slits and The Clash, so I will say no more there.
• 48:40
  Shelly Bond: We've got Beck Kubrick, also a young talent, somewhere in her 20s, and she pitched me a couple of ideas, and I challenged her to pick something outside of her own coming-of-age emo zone, and she blew me away with her punk scenes.
• 48:58
  Shelly Bond: She just absolutely stepped up and delivered, and I think you noticed those.
• 49:04
  Tad Eggleston: Oh, yeah, I totally noticed those.
• 49:06
  Shelly Bond: So, real standouts. We've got Steve Cook, who is a logo designer and an art director by day, but also a photographer, and many of his photos are sort of
• 49:20
  Shelly Bond: scattered throughout the book. Yeah, from the late… Late 70s, like, photos from the late 70s and early 80s around London. And a new romantic club scene, in particular, and actually, he's quite a good writer, and he wrote about the new romantic scene, the Blitz Kids.
• 49:36
  Shelly Bond: Because as much as I want to pretend that I knew those Blitz kids.
• 49:41
  Shelly Bond: From the Ashes to Ashes video, David Bowie just rounded up the troops from that club, Blitz, and put them in his video.
• 49:49
  Shelly Bond: Steve Cook was there, and I was not, so I wanted to kind of know what that scene was all about. But… but we also have Will Potter.
• 49:58
  Tad Eggleston: I love the cadence of that essay.
• 50:01
  Shelly Bond: Oh, I know, right?
• 50:02
  Tad Eggleston: It's, it's, it's, it's, it's somewhere between essay and prose poetry.
• 50:08
  Shelly Bond: It is.
• 50:08
  Tad Eggleston: Like, not…
• 50:09
  Shelly Bond: I really wanted personal… Anecdotes. Personal, you had to be there, but here you are. You're there now.
• 50:16
  Tad Eggleston: No, but just… it's… it's… it's a unconditional writing style that… er, untraditional writing style that I found myself just really kind of… spent more time with it than I often do with pros.
• 50:29
  Shelly Bond: You know, honestly.
• 50:30
  Tad Eggleston: Call that out.
• 50:31
  Shelly Bond: That's what I was looking for. Sounds good.
• 50:33
  Tad Eggleston: And that's… and that's also very zine-like.
• 50:36
  Tad Eggleston: Yeah. You know, you want off-ball writing, you know, off, you know, goofball, off-the-wall writing, like, that would be in zines, not, like, in…
• 50:45
  Shelly Bond: Well… It's pitch…
• 50:47
  Tad Eggleston: Perfect.
• 50:47
  Shelly Bond: There's no formula here, and I think that's what's refreshing about the book, if I can say so about the work I'm putting together. It's very refreshing. Thank you very much. What you… what you see all the time after a while.
• 51:03
  Shelly Bond: is that everybody's going for the same story beats, whether it's in comics, whether it's in prose, whether it's in music, come on! You know, you wanna…
• 51:11
  Shelly Bond: think about LCD sound system, you know, the song, you wanted a hit, we don't do hits. Well, come on. After a while, people, like, go for the same rhythm, and that's the beauty of being an editor. It's like, when people start doing that, you gotta kick them in the teeth.
• 51:29
  Shelly Bond: And sometimes you have to actually
• 51:32
  Shelly Bond: pay a kill fee, and realize that something isn't right for the book. Because sometimes that happens too, and hopefully you can use it elsewhere.
• 51:40
  Shelly Bond: Because if you're going to pay for it, you know, that's one thing. But a book like this, I think what's fun about it also is breaking up the band, and that's what I did with Will Potter. I knew that I wanted both Will and Phillip to contribute, but I didn't want them to work together. They've been working together for the past 4 years.
• 51:57
  Shelly Bond: It was time that they flexed a little bit, and so Will wrote an incredible story about the industrial scene.
• 52:05
  Shelly Bond: And what's great about Will is he sent me 3 pitches, and they were all great, but this one didn't seem like a Will pitch, and that's why I wanted him to write it. We paired him with Anna Riedman, who I think is gonna be a big name at some point very soon. She's a young artist who's done work for 2000 AD,
• 52:25
  Shelly Bond: She is fearless in her approach, and has a frenetic
• 52:30
  Shelly Bond: style that reminded me of Duncan Frugredo's early work in the 90s.
• 52:34
  Shelly Bond: So… You have not seen it colored, you've only seen the roughs, Tad. That's one of the stories that's in completion this week, but it's… it's really a killer story. And then you talked about David Dunlop, which I'm really glad you did, because David…
• 52:51
  Shelly Bond: just has blown me away since I've stumbled onto his Baphometta work. He's…
• 52:56
  Shelly Bond: a total goth on Instagram, and I loved his black and white work, and I've bought quite a few of his scenes, but I also noticed he had some pretty amazing full-color work, and it…
• 53:10
  Shelly Bond: suggested to me that he probably loved that group of fine artists that really pulled me into comics back in the late 80s. The Baron Story, Kent Williams, John J. Muth.
• 53:23
  Shelly Bond: George Pratt, that league, and that level of fine artists that came in through Epic.
• 53:31
  Shelly Bond: I could tell he probably liked them, and sure enough, that's what we've talked about a lot, and that's what I think he's imbued in a lot of this work here. Stylistically, the people that are doing this type of work
• 53:45
  Shelly Bond: need to pay attention to him. The people that like this kind of work, they haven't done it at this level. I think he's gone…
• 53:51
  Shelly Bond: Off the rails in the best possible way, and his story is probably the most personal in the book.
• 53:59
  Shelly Bond: And I absolutely love it. Moving on, because we know I could talk for days, we also have
• 54:06
  Shelly Bond: A team that I'm not sure you're aware of, Tad, but you're gonna dig their newest book. It's called Gigs, and it just came out through Top Shelf.
• 54:14
  Tad Eggleston: Have a copy. I have a copy. Haven't read it yet, but I haven't.
• 54:17
  Shelly Bond: Zi Smith, Tad.
• 54:19
  Shelly Bond: This is not just a suggestion, this is a directive. Start reading that book today.
• 54:25
  Shelly Bond: It will change your life.
• 54:27
  Shelly Bond: I read it in one sitting as a PDF, which you know I hate reading on the screen.
• 54:32
  Tad Eggleston: I've had the PDF for a while, I've just also had so many other… yeah, no, it's…
• 54:37
  Tad Eggleston: Just went higher.
• 54:38
  Shelly Bond: This should go… let's… let's say… what if they found a Lost Clash album? Would you… would you listen to that today when we hang up?
• 54:45
  Shelly Bond: That's.
• 54:47
  Tad Eggleston: I know what I'm doing when we get done now.
• 54:49
  Shelly Bond: That's what I'm saying here. Okay, first of all…
• 54:52
  Shelly Bond: I met Mark Mosedale last fall at an OK Comics signing in Leeds.
• 54:58
  Shelly Bond: When he came to get his geezers signed, I believe. And he explained that he was a writer, he'd been working on this book for Top Shelf, I think, for 7 years or something, which is crazy.
• 55:11
  Shelly Bond: And he asked if he could send me the PDF, and you know what? I said, okay, because, like, first of all, he was supporting us. He came to the signing, he bought some of our books.
• 55:19
  Shelly Bond: And I liked what he was saying to me. He knew our work, he read some of my Vertigo books, he was really cool to talk to, and I thought, what the hell? I started reading it, I did not stop. It's, like, over 200 pages. When I was done, and I don't do this.
• 55:36
  Shelly Bond: I wrote a pull quote that he didn't ask me for.
• 55:39
  Shelly Bond: And I said, hey, this is how I felt.
• 55:42
  Shelly Bond: And if you want to excerpt it, if you want your editor, Chris Staros, to edit it, That's fine.
• 55:50
  Shelly Bond: I am… you can do what you want with it, because I stand by it. I haven't read a book like this in years, and if I… if I was at Virgo…
• 55:58
  Tad Eggleston: just…
• 55:59
  Shelly Bond: I would have snatched you up so fast.
• 56:02
  Tad Eggleston: Just… just went WAY higher on my list.
• 56:06
  Shelly Bond: Good. Well, I'm glad to hear it. So, the story in our…
• 56:09
  Tad Eggleston: Get a book report.
• 56:10
  Shelly Bond: Story and art, tremendous.
• 56:13
  Shelly Bond: Alright, now I'm gonna go to the apex, the absolute apex. Love everybody in this book. You wouldn't be in this book if I didn't love your work, but Dilraj Mann, fan favorite.
• 56:24
  Shelly Bond: Top 5 of all time in, like, the Shelley Files. Two people I'm gonna always say, when you buy their work, you won't regret it. Dil Rajman and John Allison.
• 56:34
  Shelly Bond: John Allison is not in the book, and I'm still crying. Blue and pink and purple tears.
• 56:42
  Shelly Bond: But Dil Rajman has a story in here, and it is a knockout.
• 56:47
  Shelly Bond: Do you know Dil Raj Mann's work?
• 56:50
  Shelly Bond: Galveston?
• 56:51
  Tad Eggleston: I don't, but I'm… I'm pulling it up right now.
• 56:54
  Shelly Bond: Dalston's Monsters. Then, of course, we've got a few other people that you may or may not know about. We have Cleo Isadora, who I think is such a stylist.
• 57:06
  Shelly Bond: Writes very… zine-like, interesting work.
• 57:14
  Shelly Bond: very singular talent, you can't mistake her work for anyone else's, and has such a grasp
• 57:21
  Shelly Bond: Of black and white page balance.
• 57:24
  Shelly Bond: that… I knew I wanted her to pitch me a story, and she pitched me something about the emo.
• 57:31
  Shelly Bond: generation. As did Liz Prince. So we've got Cleo, who's a British-based artist. We've got Liz Prince, who is American talent, who, as you know, is one of my favorites, who I've worked with many times in my career.
• 57:46
  Tad Eggleston: Also.
• 57:48
  Shelly Bond: And Imogen Mengele.
• 57:49
  Tad Eggleston: Set… set her story in… Chicago, which made me…
• 57:53
  Shelly Bond: Well…
• 57:54
  Tad Eggleston: Really, really happy.
• 57:55
  Shelly Bond: Did not grow up in Chicago, but Tad, I want you to know…
• 57:59
  Shelly Bond: That Liz uses locations that are real.
• 58:02
  Tad Eggleston: I know she…
• 58:03
  Shelly Bond: Love to give props to the places.
• 58:06
  Tad Eggleston: Yeah, yeah. No, I know she does.
• 58:08
  Shelly Bond: We also have Imogen Mangle, I know you're a fan of Imogen's work, Imogen's writing her story, and her subculture is really cool, because it's a bit ambiguous, and I think it's kind of nice connective tissue.
• 58:20
  Shelly Bond: for sort of bringing in the… wrapping up the book, because a lot of the 21st century subcultures, I think, are ill-defined. And so I feel like by having people of that generation.
• 58:35
  Shelly Bond: write a story about what they consider to be a subculture, that educates me, frankly. Yeah. And we end with, a terrific couple of essays, one on the goth scene in the late 90s.
• 58:51
  Shelly Bond: by a terrific writer, who, I don't know if you're familiar with, and I don't know if I'll pronounce his name, but his PM,
• 58:59
  Shelly Bond: Buchan? Buchan? He's also referred to as Bucky. He's a British writer who lives in Dover, who grew up in Newcastle, and name-drops not only some great bands from the goth period, but also John Constantine.
• 59:14
  Shelly Bond: who hails from Newcastle. So he's a comics and music
• 59:18
  Shelly Bond: subculturist, if I can create a new word, live.
• 59:23
  Shelly Bond: Created new worlds.
• 59:25
  Shelly Bond: We've created a new subculture. It's a Shelley Worlds, and I'm living in it. And so is Philip. Please pity the man.
• 59:33
  Shelly Bond: And finally, I will give a shout out to Jade Perkin, who is a tremendous cartoonist, who lived in Berlin and loved Bowie as much as I do. And I thought, what better way to close the book than an essay about Bowie? Because I opened the book in my foreword.
• 59:52
  Shelly Bond: And my opening line is, drum roll…
• 59:56
  Shelly Bond: It begins and ends with David Bowie, doesn't everything?
• 1:00:03
  Tad Eggleston: Yeah, no, that was the one I read right before bed last night. It may have made me…
• 1:00:08
  Tad Eggleston: Tear up a little.
• 1:00:10
  Tad Eggleston: It's a beautiful, beautiful essay about Bali.
• 1:00:13
  Shelly Bond: I'm glad you like it. A couple of other people I didn't mention… Will be integrated throughout.
• 1:00:21
  Shelly Bond: Jen Woodall?
• 1:00:23
  Shelly Bond: Has a wonderful illustration that's also going to be a Giclee print, 8x10, an homage to… That's the Riso print. The Riso print?
• 1:00:33
  Shelly Bond: I think she said it was going to be a Gicle print, but she is using a Rizzo printer.
• 1:00:40
  Shelly Bond: I better get my facts straight. Yeah. Let me ask Tad this. Are you familiar with the film Smitherines?
• 1:00:47
  Tad Eggleston: I've heard of it, but not seen it.
• 1:00:49
  Shelly Bond: Okay, after you read gigs, you got some more homework. Dude, you don't know New York City until you live it through the eyes of Susan Seidelman, filmmaker!
• 1:01:00
  Tad Eggleston: will totally say that I do not know New York City.
• 1:01:04
  Shelly Bond: Well, you will, if you take my advice.
• 1:01:08
  Shelly Bond: It's a bit grim. It is a bit grim, but that was New York in the early 80s. How about Susan Seidelman, though, female filmmaker?
• 1:01:16
  Shelly Bond: People like her.
• 1:01:18
  Shelly Bond: really made a difference to people like me in the 80s who went to film school. Yes. And then, sure enough, Tad got a name-drop, the Hernandez brothers. There's a salute
• 1:01:29
  Shelly Bond: to the Hernandez Brothers Revolution, because without them, you and I wouldn't be here.
• 1:01:35
  Shelly Bond: Because as you know… I wouldn't be here. I discovered Lovin' rockets!
• 1:01:40
  Shelly Bond: 1987, first trip to the comic book shop, and Phillip and I might not be here. Think about it. Spencer, who's in the other room making too much noise on his drum kit, he wouldn't be here, so we've gotta pay tribute to
• 1:01:55
  Shelly Bond: The Hernandez brothers.
• 1:01:57
  Shelly Bond: We will see some beautiful photos by… Gilbert's wife, Carol, is a photographer.
• 1:02:02
  Shelly Bond: So she's lending her lens, and we've got some great photos, not just of
• 1:02:08
  Shelly Bond: The Brothers, but also of some punk shows.
• 1:02:12
  Shelly Bond: That she went to in the 70s and 80s.
• 1:02:15
  Shelly Bond: How about that?
• 1:02:17
  Shelly Bond: I'm looking forward to it. Who's not backing this? And give me the math. Give me your math. We gotta end with the math, Tad.
• 1:02:22
  Tad Eggleston: Well, no, no, because we have to end with… we'll get to math… I mean, I'll do the math, but I have specific closing questions. You know this.
• 1:02:31
  Shelly Bond: Oh, yeah.
• 1:02:32
  Tad Eggleston: Alright. Big, big thing.
• 1:02:36
  Tad Eggleston: No, no, I don't have to dig deep.
• 1:02:39
  Shelly Bond: No, no, we have, it's gonna…
• 1:02:40
  Tad Eggleston: Oh, you had to…
• 1:02:41
  Shelly Bond: It will make us dig deep.
• 1:02:43
  Shelly Bond: Don't make me cry.
• 1:02:45
  Tad Eggleston: The first one, I don't know if you've had to answer yet, because it's new to this year, so if you did, it was just the last time that you were on.
• 1:02:55
  Tad Eggleston: I've been doing this podcast for a little less than 5 years.
• 1:02:58
  Tad Eggleston: And I feel like I've entered the Twilight Zone. The conversations that I've gotten to have, the experiences that I've gotten to have.
• 1:03:06
  Tad Eggleston: the people that I call my friends, or text with, or whatever, just like, if you told me 10 years ago that this was gonna be my life, it would've been like, yeah, fuck you, and what planet? I mean, that would be awesome, but, like…
• 1:03:20
  Tad Eggleston: I just wouldn't have believed you. But I found that everybody in the arts, particularly everybody in comics, like…
• 1:03:27
  Tad Eggleston: lives that life, and has those stories, has those surreal moments where, even years later, they have to kind of pinch themselves and go, was that really me that did that? So I started collecting those stories. Give me, give me a… I can't believe that this was my life story.
• 1:03:44
  Shelly Bond: Go for it, Philip, you're first. I,
• 1:03:53
  Shelly Bond: I really don't know. Like, like, what? Suggest something to me. What? I don't know, I don't go by those things. I don't go by, sort of, like… I… I never really had, like.
• 1:04:07
  Shelly Bond: heroes that I wanted to meet, or anything. I, you know, it was like…
• 1:04:10
  Tad Eggleston: Well, I mean…
• 1:04:11
  Shelly Bond: amazing to meet Jaime and Gilbert.
• 1:04:14
  Shelly Bond: And…
• 1:04:15
  Shelly Bond: you know, I… like, those are the moments that sort of, like, bring you full circle, sort of, like, and go like, Jesus, I wouldn't be here without you guys. I wouldn't… I wouldn't have sort of pursued this if…
• 1:04:27
  Shelly Bond: If, if we hadn't been able to, sort of, like.
• 1:04:32
  Shelly Bond: Like, realize this… this whole world out there that…
• 1:04:36
  Tad Eggleston: We could relate to it. See, the correct answer, Philip, was when… when this… this… this…
• 1:04:42
  Tad Eggleston: this cute girl named Shelly Roberg called me up and asked me to do a fill-in issue on shade…
• 1:04:51
  Shelly Bond: You know, well, those are the… those are the moments that you sort of, like, that are… you don't realize…
• 1:04:59
  Shelly Bond: At the time, are a, sort of, turning point.
• 1:05:03
  Shelly Bond: that sort of sets you on a new road. You know, you don't… those… those are things you don't…
• 1:05:08
  Shelly Bond: You don't realize at the time But these are pivotal moments.
• 1:05:14
  Tad Eggleston: That's the point.
• 1:05:14
  Shelly Bond: Nope.
• 1:05:15
  Tad Eggleston: You look back on them, and you go, wow, that happened.
• 1:05:18
  Shelly Bond: Well, let me just say, you're…
• 1:05:21
  Shelly Bond: as usual, Tad, you are bringing this entire podcast to a wonderful, circuitous finish, because
• 1:05:30
  Shelly Bond: You have just brought up what I think are so… are things that are important to remember once in a while. We don't have to dwell in these pits, but the hinge points, right? Those turning points in your life.
• 1:05:43
  Shelly Bond: flashpoints, they're called. Everyone has a different name for them, but…
• 1:05:48
  Shelly Bond: they're seminal, and they need to be saluted, and that's exactly why I wanted to have a Hernandez Brothers double-page spread photo, and a little bit of a description of what they mean to me. And this is me, you know, I've never really worked with Jaime. I've only worked with Gilbert, but I also like Mario.
• 1:06:07
  Tad Eggleston: That's like me on the… that's like me on the podcast. I've had… I've had…
• 1:06:10
  Shelly Bond: Right?
• 1:06:11
  Tad Eggleston: Beto 3 times now.
• 1:06:13
  Tad Eggleston: And Jaime just read 3 lines for an audio play, and never even put his headphones on.
• 1:06:19
  Shelly Bond: Listen, I also have to say I love the women in the Hernandez family, both Carol and Natalia. I mean, when Natalia was in.
• 1:06:27
  Tad Eggleston: Oh, Natalia's been on the podcast. She's amazing.
• 1:06:30
  Shelly Bond: Holly is amazing!
• 1:06:31
  Shelly Bond: she… when she was born, I was into sewing, and I made her a Raggedy Ann doll with her name on it.
• 1:06:37
  Tad Eggleston: Nice.
• 1:06:37
  Shelly Bond: I mean, look, they're just wonderful people, and sometimes I think they are not.
• 1:06:43
  Shelly Bond: Championed enough.
• 1:06:45
  Shelly Bond: You know, you can get the PBS documentary made about you, and that's huge, but sometimes in the day-to-day.
• 1:06:53
  Shelly Bond: I think people forget just to, like, reach out and be like.
• 1:06:56
  Shelly Bond: Hey, thanks. Thanks for being you. Thanks for showing up. Thanks for representing other people in comics that are not, no offense.
• 1:07:04
  Shelly Bond: Made for traditional white guys in their 40s and 50s, so they can…
• 1:07:09
  Tad Eggleston: Do not take offense whatsoever.
• 1:07:11
  Shelly Bond: They can look at TNA, they can go, girls running around naked. Come on.
• 1:07:16
  Tad Eggleston: No.
• 1:07:17
  Shelly Bond: Let's do better.
• 1:07:18
  Tad Eggleston: Give me.
• 1:07:18
  Shelly Bond: comics. Let's do better comics.
• 1:07:20
  Tad Eggleston: I mean… Beto does have a lot of girls running around naked.
• 1:07:25
  Shelly Bond: I know, but in a different way.
• 1:07:28
  Shelly Bond: Better clothes.
• 1:07:29
  Tad Eggleston: That one…
• 1:07:29
  Shelly Bond: High heels.
• 1:07:30
  Tad Eggleston: That was…
• 1:07:31
  Tad Eggleston: That was one of the fun moments with him and Natalia, is I asked, when did she start discovering it? And he's like, she still hasn't seen them. She's like, well, I kind of avoid them, but I think I was in elementary school the first time somebody came up to me and said, did your dad draw this?
• 1:07:47
  Shelly Bond: Yes, right?
• 1:07:49
  Shelly Bond: It's like, oh my god!
• 1:07:54
  Tad Eggleston: Alright, closing question, and then we'll do our math lesson really quick. Tell me something you love, preferably a comic, but we don't have rules, preferably storytelling, but again, with the rules, something that you love.
• 1:08:07
  Tad Eggleston: That not enough people around you.
• 1:08:10
  Tad Eggleston: Have experienced, and you need them to, so that… so that you have more people to talk about it with.
• 1:08:17
  Tad Eggleston: Shelly always gives me great comics on this one. I'm trying to remember the name of the one that she did last time, but I ordered it from England and loved it.
• 1:08:23
  Shelly Bond: Why don't you talk about that? I…
• 1:08:26
  Shelly Bond: That's a cool thing. We both thought that was a neat thing. Give props to that company, no?
• 1:08:37
  Shelly Bond: I'll say it myself. I don't know. Alright. I've been really digging.
• 1:08:43
  Shelly Bond: this…
• 1:08:45
  Tad Eggleston: What is that?
• 1:08:45
  Shelly Bond: inside.
• 1:08:47
  Shelly Bond: collection. This one is called The Art of Christina Dowra. Are you familiar with this, Tad?
• 1:08:54
  Tad Eggleston: I'm not.
• 1:08:55
  Shelly Bond: coolest thing ever. I bought this at Partners and Son, which is a brilliant shop.
• 1:09:01
  Tad Eggleston: Philadelphia.
• 1:09:01
  Shelly Bond: Which, which is…
• 1:09:03
  Tad Eggleston: On my… on my… go-to list.
• 1:09:06
  Shelly Bond: If you need to read gigs, watch smithereens, go to Philly. In that order, Ted. And that's a direct.
• 1:09:12
  Tad Eggleston: Well, I've gone to Philly, but I…
• 1:09:14
  Tad Eggleston: But I, I, I, I hit, I hit Amalgam, or Amalgam, when I was there.
• 1:09:20
  Shelly Bond: All right, well, next time, you can't miss it. They have such exquisite taste, amazing curators. I was there a few months ago with,
• 1:09:30
  Shelly Bond: to, on my way to see my family, and Caroline Cash.
• 1:09:35
  Shelly Bond: lives in Philly, and so I asked her if she wanted to do, like, you know,
• 1:09:41
  Shelly Bond: Q&A with me, and we had a blast.
• 1:09:43
  Shelly Bond: The other thing I will say, since Philip left the room, is I just can't…
• 1:09:48
  Shelly Bond: believe not everybody is…
• 1:09:52
  Shelly Bond: seeing Caroline's work on Nancy. There couldn't have been a better choice to pass the baton from Olivia Jane to Caroline. And I hope the Bush-Miller estate is just, like, pinching themselves, because…
• 1:10:07
  Tad Eggleston: I hope so.
• 1:10:07
  Shelly Bond: Caroline is killing it. I mean, just doing brilliant work, and I just can't.
• 1:10:14
  Shelly Bond: ask people to, like, check it out enough. It's just fantastic to.
• 1:10:17
  Tad Eggleston: Yeah, no, I…
• 1:10:18
  Shelly Bond: daily strip.
• 1:10:20
  Tad Eggleston: I cannot wait for collected editions, and yeah, I've been… I don't manage to go daily, just because I'm not good at making that habit, but I'll, like, go binge a month at a time, that sort of thing.
• 1:10:31
  Shelly Bond: So good.
• 1:10:31
  Tad Eggleston: And yeah, she's just… yeah.
• 1:10:35
  Tad Eggleston: Carolyn's amazing.
• 1:10:37
  Shelly Bond: So I found one thing that I wanted to recommend.
• 1:10:40
  Shelly Bond: Bye.
• 1:10:41
  Shelly Bond: Simone Lear. Simone Lear. This is, like, one of my favorite books of the past year.
• 1:10:46
  Shelly Bond: We picked the… this is… this is, like, the one book I wanted to bring back from,
• 1:10:52
  Shelly Bond: From our, from our visit to the UK.
• 1:10:56
  Shelly Bond: Where, like, we met… met her, and
• 1:11:01
  Shelly Bond: Didn't realize at the time that
• 1:11:03
  Shelly Bond: This was such an amazing book. I… we walked into Gosh Comics in London, actually, one of the first days we were there.
• 1:11:11
  Shelly Bond: And, he picked it up and read the first page, and went like, I want to bring this home, this book home with me. Like, didn't want to buy it on the first day of our trip, but
• 1:11:20
  Shelly Bond: Made sure we brought it back.
• 1:11:23
  Tad Eggleston: How to make life better when it feels like it's getting worse. Yes.
• 1:11:27
  Shelly Bond: Make life better when it feels like it's getting worse.
• 1:11:30
  Tad Eggleston: Yeah, this looks… Fantastic. That's another one that we'll…
• 1:11:34
  Shelly Bond: Yeah, I…
• 1:11:35
  Tad Eggleston: Definitely, definitely a book for the times.
• 1:11:38
  Shelly Bond: Yeah, this was, this must have just come out when we were over there in the UK, but I think it's available over here now as well. It is.
• 1:11:48
  Tad Eggleston: Yeah, it came out in September in the United States.
• 1:11:51
  Shelly Bond: Yeah? I'm disappointed that Philip didn't mention the turtleneck diaries. And the turtleneck diaries. You didn't read the turtleneck diaries. Turtleneck diaries? Don't tell a lie.
• 1:12:00
  Shelly Bond: Pat, I'm sending you…
• 1:12:01
  Tad Eggleston: the turtlenecks.
• 1:12:02
  Shelly Bond: a copy of the Turtleneck Diaries, which is my latest book, and here's what… and I'm going to send you your own sticker that fills.
• 1:12:09
  Tad Eggleston: My own sticker.
• 1:12:10
  Shelly Bond: TheGrammar.com. Tad, real quickly, the Turtleneck Diaries is one story about one sad, pathetic.
• 1:12:19
  Shelly Bond: Girl with braces and rubber bands who had eczema, and…
• 1:12:25
  Shelly Bond: allergies, and how she had her first kiss on the floor of the roller rink once. So you wrote another book.
• 1:12:31
  Tad Eggleston: Right?
• 1:12:31
  Shelly Bond: One story, and two different artist interpretations.
• 1:12:35
  Tad Eggleston: I have been watching you, you, you, you put stuff up about it in your newsletter.
• 1:12:40
  Shelly Bond: Well, it's on its way to you today.
• 1:12:43
  Tad Eggleston: I love it.
• 1:12:43
  Shelly Bond: I can't wait to hear what you think about it, because Philip hasn't read it, and I don't blame it. I've read it. I've read it a number of times. I don't want him to read those stories. They're embarrassing. I don't want to read those stories. And my father read the story.
• 1:12:57
  Tad Eggleston: That's… that's always, you know.
• 1:12:58
  Shelly Bond: We don't want to know.
• 1:12:59
  Tad Eggleston: an artist.
• 1:13:00
  Shelly Bond: My father wouldn't have read the story if he hadn't sent it to him. Well, I sent it to my mom.
• 1:13:06
  Shelly Bond: My only true fan is my mom.
• 1:13:09
  Shelly Bond: I don't.
• 1:13:10
  Tad Eggleston: Oh, that's…
• 1:13:10
  Shelly Bond: Do you have stories that you wouldn't tell your parents?
• 1:13:14
  Shelly Bond: Not really. I'm an open book. Tad, let's do the math. We need to get more backers, we're only at 11K, we've got 9K in 23 days.
• 1:13:23
  Tad Eggleston: The… the math, as I put it up.
• 1:13:27
  Tad Eggleston: earlier today, and unfortunately, it's still roughly the same, so people need to start reposting my Instagram and Blue Sky so more people see it.
• 1:13:35
  Tad Eggleston: Is $35 backer… er, $35 for a hardcover, $240 for new hardcover… er, 240 new hardcover backers would equal $8,400, which is pay dirt.
• 1:13:48
  Tad Eggleston: So, we need 240 more people that want to see this amazing, hardcover, subculture
• 1:13:56
  Tad Eggleston: I'm just gonna call it a zine. It feels like it should just be called a zine, even though it's hard
• 1:14:01
  Tad Eggleston: And bigger than that?
• 1:14:02
  Shelly Bond: a giant zine with a fifth-color neon yellow spot. And also, also, like…
• 1:14:10
  Shelly Bond: people who have backed it already, please go wild on the add-ons. Yes!
• 1:14:15
  Tad Eggleston: Yes!
• 1:14:17
  Tad Eggleston: And also, like, you know how I go. When I do my math lessons, I first go for the, like, the physical edition. Then I remind people, okay, if you can't afford the physical edition, go for this. And then I start talking about the big stuff, so, like…
• 1:14:31
  Shelly Bond: Let me just use.
• 1:14:32
  Tad Eggleston: I have a rhyme and reason.
• 1:14:33
  Shelly Bond: this final moment we have just to thank all the backers who've jumped on board, because we see you…
• 1:14:41
  Tad Eggleston: You have 206 backers so far.
• 1:14:43
  Tad Eggleston: Thank you very much. $11,615.
• 1:14:47
  Shelly Bond: And also, don't forget, it's an anthology, and all the people that are in this book have been given social media graphics, and I've asked them all
• 1:14:56
  Shelly Bond: Twice a day. All I ask is that you share the graphic and the link twice a day. You don't have to do a song and dance like I do, you don't have to put on your tap shoes. In fact, I even bought a top hat.
• 1:15:09
  Shelly Bond: Just for you, Tad. I bought a top hat, it was only a dollar, but, like, this is like my dance hat.
• 1:15:15
  Shelly Bond: And I'm putting it on right now to say, thank you, Tad. Thank you for doing your PT Barnum all the time.
• 1:15:22
  Tad Eggleston: See, I just had a wonderful idea for, like, the… what you should tell people will happen when you fund is you will always put up a tap dance video.
• 1:15:33
  Shelly Bond: Happy to do that for no reason at all, but yes.
• 1:15:37
  Tad Eggleston: Well, but no, it should be, it should be the happy tap dance video when anything funds. And you have to promise not to do the same one for every book. You have to do a new dance.
• 1:15:46
  Shelly Bond: I… that's… hey, listen, there's always a new dancer. Oh, new dancers, new costumes, yeah. Always.
• 1:15:52
  Tad Eggleston: But…
• 1:15:53
  Shelly Bond: I thank you from the bottom of my heart.
• 1:15:56
  Tad Eggleston: I thank you guys, it's always…
• 1:15:58
  Shelly Bond: For everything you do for Bronx. Always. Not just us. I do my best. We know we're your favorites, but thank you for everything you do for everybody, and for just being such an important part of the industry landscape, because there are.
• 1:16:11
  Tad Eggleston: Money.
• 1:16:11
  Shelly Bond: Many more garbage people out there, but you're not in that subculture.
• 1:16:16
  Tad Eggleston: Try really hard not to be.
• 1:16:17
  Shelly Bond: They weren't the good guys.
• 1:16:19
  Tad Eggleston: It's always my goal. So thank you so much, and for 22 panels, this has been Shelly and Philip Bond, and we will see you after the next page.