Podcast Summary: "Charlando Cosas con Miguel Bayón"

Siempre es Lunes | Host: Macetaminofen | Guest: Miguel Bayón
Release Date: January 15, 2026

Overview

In this lively and irreverent episode of Siempre es Lunes, Macetaminofen and crew dive into the quirky history of comic strips and humor illustration in Puerto Rico. They’re joined by renowned cartoonist and illustrator Miguel Bayón, exploring everything from how newspaper comics shaped local humor to Bayón’s creative process, memorable works, and upcoming art exhibition. The episode blends nostalgia, pop culture, and genuine reverence for Puerto Rican comic art, all seasoned with the cast’s signature banter and fast-paced wit.

Key Discussion Points & Insights

1. Historical Roots of Comic Strips in Puerto Rico

• Origins and Influence (00:37–06:58)

  • The crew kicks off with a brief history of visual humor, especially the rise of comic strips ("tirillas") and their impact on local media.
  • [00:58] C: “Hoy vamos a hablar del humor visual, específicamente de las tirillas… Y su presencia en Puerto Rico.”
  • The infamous Yellow Kid cartoon and its link to "prensa amarillista" is explained, showing how visual humor helped combat illiteracy by making news accessible.

• Nostalgic Newspaper Comics (04:24–07:16)

  • Laughing about how everyone used to read the same strips, they recall classics like "Educando a Papá" and the thrill of the Sunday color comics.
  • [05:44] B: “Recuerdo que en los periódicos en la semana tenían dos o tres tirillas, pero el domingo era que venía la heavy.”

2. Comics as Social and Political Commentary

• Subtle Criticism in Humor (07:16–11:34)

  • Discussion turns to early local strips like "Makoko" and "La página de Cheo," which used satire and social participation.
  • Blackface and problematic past conventions are discussed critically, highlighting changing standards.
  • Notable focus on how the “página de Cheo” allowed readers to submit jokes, making it an early meme-like space.

• Edgy and Socially Relevant Strips (11:34–12:42)

  • Strips addressing tough topics like abortion, with hosts reflecting on evolving norms in Puerto Rican humor.

3. Evolution and Anatomy of the Local Strip

• From "Pero Pa'lante" to Pepito (12:07–14:35)

  • Tracing the influence of older strips on modern icons like "Pepito," they examine how creators recycle characters and scenarios.
  • [12:58] C: “El mismo creador de Pepito, ese es Jerusalén… y tiene cositas que después usó para Pepita.”

• Creative Collaboration (14:54–19:24)

  • Bayón and the hosts discuss how creative duos operate—sometimes the writer scripts panel by panel, other times the artist improvises. This dynamic is compared to the Marvel "Stan Lee method".
  • [22:17] A: “Yo le envié a él… tú le explicas recuadro por recuadro al dibujante. Y es lo que yo siempre trabajaba con Bayón.”

4. The Creative Process: From Concept to Art

• Bayón’s Methods and Inspirations (29:42–37:33)

  • Bayón shares his self-taught roots, describing influences ranging from TV and Looney Tunes to the satirical Mad Magazine. He emphasizes observation and adapting the subject’s most distinctive features for caricature.
  • [29:42] C: “¿Qué es lo que tú ves en el rostro de una persona que tú dices esto es lo que yo voy a poner para que la gente sepa que es su caricatura?”
  • [30:18] A: “Es intuitivo. Por ejemplo, ella tiene los ojos saltones y entonces pone el dibujo con los ojos saltones.”

• Caricature as Social Record (33:35–34:56)

  • Stories of drawing family members as his first subjects, using humor illustration to capture everyday life, often motivated by necessity.

• Mad Magazine’s Influence & Comic Book Codes (35:00–36:36)

  • The crew geek out over Mad Magazine’s cheeky approach and how it sidestepped censorship, changing the industry’s format and tone.

5. Bayón’s Career & Current Work

• Signature Pieces and Exhibitions (38:34–45:42)

  • Bayón describes his process for personal, political, and celebrity caricatures, and the upcoming exhibition “La Gran Reunión” at Telemundo (Jan 22–end of February 2026), featuring 15 works of prominent Puerto Ricans.
  • [44:12] A: “Son 15 piezas… representadas por diferentes artistas puertorriqueños, deportista y otras cosas más.”

• Engagement with Fans and Community (40:49–46:27)

  • Talks about going viral with strips about his dog, Máximo, and marking local pop culture moments (even joking about how he marks celebrity deaths).
  • Shared gratitude for sponsors and invited listeners to follow his work on Instagram: Miguel Bayón Art.

Notable Quotes & Memorable Moments

On the Role of Comics in Puerto Rican Culture

• "[04:24] C: Los cómics están, diría, casi desde el principio de la prensa… la única representación de humor en la prensa."
• "[09:26] B: Primer meme de algo que pasó dibujado, básicamente.”* — On “La página de Cheo” as proto-meme culture.

On Creation and Collaboration

• "[22:42] B: Eso es bien difícil, porque cuando una dupla coge una química y se entiende la comunicación…” — On writer-artist synergy.
• "[27:03] B: Ahí es que se crea algo, cabrón." — On art as a mutual effort.

On Caricature Art

• "[30:18] A: Es intuitivo. Hay unas cosas que tú ves en la persona."
• "[41:18] B: Cuando Alexis muera, vengo aquí, yo te voy a decir el arte que vas a hacer… vamos a poner una escalera eléctrica para el infierno." — Maceta’s characteristic dark humor.

On Humor’s Social Value

• "[38:24] B:…el humor cura o nos hace pasar eso como una vaselina."
• "[36:10] C: Tenía que ponerle ese sello [de censura]... y él se encabronó… si lo hago revista, no tengo que cumplir con el código de cómic."

On Dreaming Big

• "[34:09] B: Yo quería ser Stan Lee, así fue que yo me empecé a formar…"
• "[34:56] C: No hay que llamarlo soñar. Hay gente que sabe por dónde tiene que moverse…”

On Community and Upcoming Work

• "[44:45] A: Telemundo… el cóctel es el 22, pero va a estar [la exhibición] hasta febrero. Cualquier persona que quiera visitarlo puede ir.”
• "[46:47] B: Yo siempre pienso que yo quiero que cuando yo sea viejo colaborar con la gente talentosa con la que me encontré en el camino."

Important Timestamps

• 00:37 – 04:24: Introduction to history and cultural role of comics
• 07:16 – 10:00: The influence of reader-submitted humor and “La página de Cheo”
• 12:40 – 14:35: From “Pero Pa'lante” to “Pepito”: evolution of local comic strips
• 16:26 – 19:24: The process of submitting and editing comics in the press
• 22:01 – 24:46: Script vs. Marvel Method for comic creation
• 29:42 – 37:33: Bayón’s journey as an illustrator and roots in caricature
• 38:34 – 46:27: Discussion of Bayón’s art exhibition, social media, and community
• 44:45 – 46:27: Details about "La Gran Reunión" exhibit at Telemundo

Final Notes

Siempre es Lunes stays true to its self-deprecating tag, blending riotous jokes and humble wisdom, but also transmits a real affection for the history and craft of comics and comedy in Puerto Rico. The episode successfully spotlights Miguel Bayón’s impact and encourages appreciation for collaborative, visual humor—making it a compelling listen for comic fans, creatives, and anyone nostalgic for the Sunday funnies.

Follow Miguel Bayón on Instagram: @miguelbayonart

“El arte más cabrón siempre es trabajo en equipo.”
— [27:47] B

“El humor cura o nos hace pasar eso como una vaselina.”
— [38:24] B