Podcast Summary: The New Yorker Radio Hour

Episode: Barry Blitt’s Rogues’ Gallery of Presidents
Date: December 5, 2017
Host: David Remnick
Guests: Barry Blitt, Hilton Als, Christine Vachon, John Early

Episode Overview

This episode of The New Yorker Radio Hour features an in-depth conversation with acclaimed illustrator Barry Blitt about his new book and career as a political cartoonist. David Remnick explores Blitt’s evolution as an artist, his most controversial and impactful covers, and the challenges of satirizing contemporary politics. Later in the episode, Hilton Als interviews filmmaker Christine Vachon on her pioneering career in independent film—particularly her role in queer cinema and producing ground-breaking narratives like "Boys Don’t Cry" and "Kids."

Section 1: Barry Blitt and the Art of Political Cartooning

Introduction to Barry Blitt and "Blitt"

• David Remnick introduces Barry Blitt as “one of the great cover artists for The New Yorker,” praising his “gorgeous, hilarious and provocative” illustrations and the new book Blitt ([00:36]).
• Remnick reads and pokes fun at the publisher’s blurb:

  “Barry Blitt’s cartoons have been lampooning American politics and culture, blah blah, blah, et cetera, et cetera.” ([00:36])

Blitt’s Entry into The New Yorker

• Blitt recounts his first New Yorker cover in 1993, encouraged by cover editor Francoise Mouly, and how his sketches began with everyday NYC cityscapes ([02:20]).
• His first cover depicted office workers smoking on window ledges after indoor smoking bans—capturing a specific urban shift ([03:14]).

Transition to Political Art

• Blitt describes his accidental drift into political illustration, particularly as “political news became pop culture news” during the Monica Lewinsky scandal ([03:31]).
• “As I got a little older, I had a Dorothy Hamill period where I was drawing her a lot. That ended.” ([03:31])
• Entertainment Weekly and The New Yorker began requesting Bill Clinton sketches, setting him on his new path.

Favorite Presidential Subjects & Artistic Process

• Trump is cited as a uniquely compelling subject:

  “I don’t get sick of the act of drawing Trump because … he’s an amazing specimen to draw… It just seems like he’s made out of plastic or something.” ([04:34])

• Collecting visual references for Trump results in “an enormous file... every angle you look at him, there’s a new revelation” ([04:56]).

Memorable Quote

“You wonder if... his face is his destiny or if there could be a decent person inside of that head.” — Barry Blitt ([05:41])

The Obama "Fist Bump" Cover and Its Fallout

• Blitt’s notorious satire of conspiracy theories—portraying the Obamas as radicals—was meant to be obvious satire ([06:51]).
• Remnick recalls the public outcry and deluge of angry emails ([08:11]):

  “My email, it looked like a cash register that had broken in a Charlie Chaplin movie...”

• Blitt reflects:

  “If it has to be explained to people, I’m not sure it’s a ... resounding success. I’m fond of the cartoon now. I know that I lost a bar mitzvah gig because of it.” ([08:43])

Memorable Moment:

Blitt lost a performance gig for his illustrator jazz band due to the controversy ([09:13]).

Effects of Backlash and Satire’s Limits

• He admits to feeling personal anxiety, but not losing artistic nerve ([09:40]).
• Jon Stewart’s defense of Blitt on The Daily Show helped shift the public reaction ([09:56]).
• On the challenges of satirical art in the Trump era:

  “Often he’ll go farther than that in reality. And it’s hard to ... It’s not funny anymore.” ([12:02])

Notable Quote

“It seems to be harder and harder to dream up ridiculous scenarios because they’re not so ridiculous. ... They can happen.” — Barry Blitt ([12:33])

Section 2: Satirical Interlude – "Your New Avocado: FAQ"

• A comedic sketch written by Sarah Hutto, performed by John Early, lampoons avocado trends with deadpan humor ([13:41]).
• Highlights include riffing on the narrow window for ripeness, injury risk (“40% of avocado openings do result in fatality.” [14:41]), and the fleeting joy of avocado ownership.
• Quote:

  “Affairs with avocados are typically marked by an extremely brief honeymoon period, followed by sharply waning interest and inevitable decomposition, just like any other relationship.” ([15:15])

Section 3: Interview – Christine Vachon and Queer Independent Cinema

Early Cinema Experiences and Artistic Beginnings

• Christine Vachon recalls growing up frequenting cheap NYC movie theaters, reflecting on how repeated viewings substituted for home video ([18:01]).
• Als and Vachon discuss the diversity and fluid boundaries of creative ambition in 1980s New York ([19:28]).

Producing Rather Than Directing

• Vachon describes why she chose producing:

  “Producing is so much more about ... having the whole picture in mind ... I just didn’t think I was well suited [to directing].” ([20:47])

• It’s a deliberate choice, countering the stereotype that producers lack creative ambition ([20:46]).

The Making of Landmark Films

• Discusses working on “Kids,” balancing the real-life chaos portrayed in the film with the controlled chaos of the set ([21:58]).
• Describes the impact on young actors, missing the set’s structure after filming ended ([22:43]).
• Vachon reflects on handling sensitive subject matter—like HIV in “Kids” and transgender identity in “Boys Don’t Cry”—with grounded realism ([23:13], [24:56]).

Notable Quote

“The film always bleeds into life with your projects, and life bleeds into the film. ... You were one of the first producers to ever deal with the devastation of AIDS in a real and constructive way.” — Hilton Als ([24:13])

The Long Struggle of "Boys Don’t Cry"

• The film’s development spanned seven years, from before the real killers’ trial to achieving confidence in telling Brandon Teena’s story directly ([26:08]).
• Speaks to the nuanced portrayal of characters based on deep reporting and research ([26:18]).

On "Queer Cinema" & Artistic Urgency

• Vachon discusses the coinage and label of "New Queer Cinema":

  “...if we don’t tell our stories, we’re gonna die and nobody’s gonna hear them.” ([28:50])

• The sense of urgency and crisis during the AIDS era defined the energy of those films ([28:50]).

Notable Quote

“In a way, I feel like the term new queer cinema has been stripped of that Barb, which I think is kind of the most critical part of it.” — Christine Vachon ([29:05])

Women in Independent Film & Industry Barriers

• Vachon compares the divergent career trajectories that followed Sundance success for male and female indie filmmakers ([30:15]).

  “If they were men, ... the guys are shooting stars and the girls are like crickets.” ([30:15])

• She reflects on handling “the suits” and dealing with difficult figures like Harvey Weinstein:

  “You just have to, like, take a deep breath ... means to an end ... We're gonna get this done.” ([31:56])

Notable Quotes & Memorable Moments

• Blitt on Drawing Trump:
  “Every angle you look at him, there’s a new revelation. ... He’s just very interesting to draw.” ([04:56])

• On Satirical Risk:
  “If it has to be explained to people, I’m not sure it’s a ... resounding success.” ([08:43])

• Vachon on Queer Cinema:
  “It wasn’t this sudden, like, oh, we’re here, we’re queer, we’re gonna make movies. It was like, if we don’t tell our stories, we’re gonna die and nobody’s gonna hear them.” ([28:50])

• Christine Vachon's Tenacity:
  “You just have to, like, take a deep breath ... means to an end, you know ... We're going to find our point of connection and we will figure it out.” ([31:56])

Timestamps for Major Segments

• Blitt on His First New Yorker Cover: [02:20]
• Blitt on Becoming a Political Cartoonist: [03:31]
• Favorite Presidential Subjects: [04:34]
• On Drawing Trump: [04:56]
• The Obama Cover Controversy: [06:51–09:40]
• Satirical Limits in the Trump Era: [12:02–12:56]
• "Your New Avocado: FAQ" Comedy Segment: [13:41–15:55]
• Christine Vachon Interview Begins: [16:42]
• Making "Kids" and "Boys Don't Cry": [21:27–26:08]
• On New Queer Cinema & the AIDS Urgency: [27:28–29:05]
• Women in Indie Film / Industry Bias: [30:15–31:56]

Tone and Style

Remnick’s signature warmth and curiosity set a conversational, insightful mood. Blitt’s dry, self-deprecating humor and candor about the pressures of political satire offer unique behind-the-scenes honesty. Vachon’s voice is direct and reflective, conveying both the creative drive and resilience needed to tell marginalized stories in film.

For Listeners New to the Episode

This episode offers a rare glimpse into how artists—across illustration and film—grapple with politics, public backlash, and the need to represent truth and complexity. Whether discussing controversy over an infamous magazine cover or the lived urgency behind New Queer Cinema, the episode captures the challenges and rewards of making art that matters.