99% Invisible - 544- Chick Tracts

Episode Date: July 11, 2023

In the 1980s, the little Christian comic books known as Chick Tracts were EVERYWHERE. You’d find them in movie theaters and bus station bathrooms, on subways, and all over shopping malls. People would slip them inside VHS rentals or library books. Many Chick Tracts are black and white Christian horror stories that pull from a huge cast of characters: witches, bikers, Hindus, rock and rollers, Catholics, queer people, truckers, Masons and trick-or-treaters. And at some point in the tract, the protagonist often has to make a choice: either accept Jesus as their savior, or get tossed like cordwood into a Lake Of Fire. Chick Tracts have left a really complicated legacy. Collectors are mesmerized by their edginess and kitsch. The Smithsonian regards Chick Tracts as American religious artifacts, and keeps a bunch of them in its vaults.  At the same time, many of these comics are filled with some ugly and dangerous messages, including homophobia and Islamophobia. So the same tracts that have been hoarded and preserved have ALSO been boycotted and banned, and condemned as hate speech.

This is 99% invisible. I'm Roman Mars. One summer day in 1972 when David Daniels was a kid, he found himself out in the front yard of his family's home. I was at the apartment, just sitting and enjoying the afternoon. For once in my life I wasn't doing anything. David was 9 years old and living in the suburbs just outside of LA. That's producer Christopher Johnson. As David sat in the grass taking in that calli sunshine, he was pretty sure he was alone. And then on the other side of a big creaky gate nearby, he heard footsteps.

And all of a sudden, the door swang open. David looked up to find a grown man, a total stranger now standing in the front swaying open. Hmm? KUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUKUK and he said, want to read a comic? And I said, yeah. So he hands David this little comic book about the size of your average cell phone. And it says, this was your life on the cover and it has like a movie screen. And there's an angel and an naked guy staring at the screen. Like, this was your life.

And he said, you wanna read it to me? Okay. I mean, it's a comic. I've always loved comics. I'm addicted to comics. Inside, David found a 21-page story, illustrated in simple black ink. It begins with a dopey guy wearing a cardigan and a turtleneck standing next to his flashy Corvette.

He's looking all smug, smoking a pipe and sipping a cocktail. Life is good. Then immediately it's the grim reaper with a sideness hand and he's he's got this black cloak on and it's like, oh, dude, the grim reaper sneaks up on this guy and he hits him in the back and he guys grabbing his heart and he says, whoah, and his drink falls out and his pipe falls out. And that's like not what I expected. I'm caught. I'm totally caught. I gotta know what's happening next.

In some ways, all this looked familiar to a comic book fan like David. You had the weird characters with the goofy over-the-top expressions and those stylized speech bubbles. But when he looked closer, David saw something that made this comic book totally distinct from the superhero fare that he was used to, because it was full of Bible verses. This stranger had given little David

something called a chick tract. A tract is a common name for a pamphlet with religious messages, and chick tracks were Christian comic books that fit in the palm of your hand. And immediately the guy falls down the pipes in the air, the glasses in the air, and he falls to the ground. They were at the funeral. He was a good man.

And I love that. The check track that David was reading was about a man who dies suddenly and is whisked out of his grave in up to heaven by an arc angel with a fresh blow dry and ginormous wings who streaks through the sky like Superman. In the track, the undead man stands in front of a colossal faceless god on a throne while they watch the guy's entire sinful life and playback like some drive-in movie. from Drive in Movie. God's deciding if this guy stays in heaven

or burns forever in hell. And if all this stuff wasn't heavy enough for a nine-year-old, at the end of the tract, like every check-tracked, there was a prayer, the stranger asked David to keep reading. And then he said,

would you like to pray to receive Jesus as your savior? And I said, yeah. So then we went on page 23 and we read what it says. Trust Jesus today and I went through and I prayed and thought about everything I was reading and prayed it from my heart. And he said, you're a Christian. He led David Keith, that small black and white comic book, told him to find a really good church, and then he just bounced. He walked right back into the alley and out of my life, and I never saw him again. That whole exchange only lasted a few minutes, but it changed David's life.

And after that, I would go on my skateboard or my bicycle all the way from the other side of town, all the way over to Christian life bookstore and pay my nickel and every time they came out with a new one I'd come and get it. I wanted them all. Gotta get them all. I wanted them very much and whenever somebody had one that I didn't have I always wanted that one too. David is still a Christian today.

He's one accountless people all over the world who have been impacted one way or another by a Chick-Track. When I was growing up in the 80s, Chick-Tracks were everywhere. You find them in movie theaters and bus station bathrooms on subways and all over shopping malls. People would slip them inside VHS rentals or library books. Since Chick-Publication started in the mid 1960s it has sold more than 1 billion tracks. There are 270 different chick tracks, with titles like The Death Cookie, Kidnapped, Mean Mama, The Sissy, and Satan Comes to Salem. Many of these are black and white Christian horror stories that pull from a huge cast of characters, witches, bikers, Hindus, rock

and rollers, Catholics, queer people, truckers, masons, and trick-or-treaters. And at some point in the tract, the protagonist often has to make a choice, either except Jesus as their savior or get tossed like cordwood into a lake of fire. These little Christian comics have left a really complicated legacy. Collectors are mesmerized by their edginess and catch. The Smithsonian regards chick tracks as American religious artifacts and keeps a bunch of them in its vaults. At the same time, many of these comics are filled with some ugly and dangerous messages,

including homophobia and Islamophobia. So the same tracks that have been hoarded and preserved have also been boycotted and banned and condemned as hate speech. So what is it about these tiny inflammatory comic books that has allowed them to not just survive, but spread across the planet for the past six decades? The answer lies in the rise of the larger than life artist behind the tracks. Greetings in the precious name of our Lord Jesus Christ.

This is Jack Chick's Beacon. Before we go into this, the voice you're hearing is Jack T. Chick, head of Chick Publications and the creator of Chick Tracks. Jack died in 2016, but in life he was the man responsible for some of the most influential and most infamous Christian lit of the 20th century. As believers in Christ, we have great authority over the powers of darkness given to us by Jesus, because we are his ambassadors and joint heirs with Christ. Jack Chick didn't actually grow up in the church. The story of his conversion begins when he's well into his 20s.

He was a World War II vet who just returned from fighting in the Pacific. It was fit and confident and good looking, with his thick, dark hair and all American jawline. Jack was also crazy in love with his sweetheart, Lola Lynn Prittle. They'd met at the Pasadena Playhouse, where Jack had a two-year scholarship to study acting. Together, they dreamed of being movie stars. J. Jack and Lola Lynn got married in 1948. What happened next would become foundational to Jack Chick's almost mythic origin story. When he goes with his wife on their honeymoon,

he meets the parents. And the mother is said to have, according to Jack Chick, pulled her daughter aside after meeting Jack Chick and said, what is this thing that you brought home to us? They were not impressed with him at all. Hahaha. Kurt Kirstiner is an expert on Jack Chick and Chick Tracks.

He says things didn't get off to the best start when Jack went up to meet his new in-laws in Canada. LoLas parents were super religious and very conservative. To Mr. and Mrs. Prittle, Jack was bad news. He was no saint before he was drafted, but while Jack was overseas, he picked up smoking and up body mouth. I think it was his language and, you know, a rudeness and probably he was pretty cocky too.

You know, he just gone off and won a war and graduated the Pasadena Playhouse. He's about to become a famous actor. So, you know, he had everything going for him. Maybe, but Mrs. Prado was not impressed, and she was going to do something about the problem of Jack. She took him into another room and sat him down in front of the big family radio, and collected on. Friends in radio lounge are listening to the old-fashioned revival hour and international broadcasts of the gospel.

And together they listened to a Christian show called The Old Fashioned Revival Hour, one of the most popular programs on the air in North America in the late 1940s. The host was a preacher named Charles Fuller. You that are alone in your home. Find someone else that spiritually minded and wear two or three or gather together in God's name. He says, ask whatsoever he will and shall be done." In Fuller's sermon, he talked about the Christian belief that everyone is sinful, and that Jesus died so that each human being, all those sinners, even the smoking, swearing jack chick, could spend their afterlives in heaven and not eternal hell. The way jack tells it, as the preacher

spoke, he leaned in. It was a pretty basic Christian message, but he says it rocked his world. It had a big impact on him. And according to him, you know, he got down on his hands and knees and accepted Christ at that time. In the decade that followed, Jack's conversion would inspire him to change nearly everything about his life. One of the first things he did when he got back to Southern California was rethink his dreams of becoming a movie star.

As far as Jack was concerned, the Hollywood lifestyle was totally incompatible with his new faith. So he just walked away. So instead of Hollywood, he returned to an interest he'd always had since he was a kid. This is Dan Rayburn who wrote a book about Jack Chick. I think it's the dream most young man of his generation had. And that was comics, drawing, visual art. As an adult, his art skills were okay, good enough to land a regular day job doing ads

and technical illustrations in LA's booming aerospace industry. Jack also had a couple of artistic side hustles. On nights and weekends, he did opinion and editorial cartoons for local newspapers. Plus, he had a comic strip that he was really trying to get off the ground. It was a Flintstone type comic strip about a prehistoric Neanderthal family called times have changed question mark and their cartoon drawings of cavemen and cave women where they wear animal skins and the men carry clubs. They were very straightforward mainstream strips where he was just trying to break into the strips the way Charles Shulls did with peanuts. He wanted to be a mainstream cartoonist.

As Jack was developing his art career, he was also growing deeper and deeper in his faith. He joined a local church and he started attending regularly. And then sometime around 1960, one of Jack's co-workers, a fellow Christian, gave Jack what seemed like a pretty unassuming book. It was called Power from On High, and it was written by a man named Charles Finney,

a 19th century minister who was a huge Christian reformer. Finney wrote that church leaders were making the whole religious experience lifeless and flat. He argued that being a Christian was supposed to be exciting and invigorating, going to church should be a powerful experience. But complacent church leaders and their congregations were sucking the energy out of what could otherwise be a rich Christian life. That book got Jack looking at his own church with fresh eyes and he was not happy with what he saw. He felt like

I've been going to church but it's's just full of a bunch of phonies. And they're more concerned about building the church than they are about building the people in the church. You know, they want more buildings. They don't want more people. They want more money, but they don't want more souls. Jack felt that while he was super serious about prayer, devotion, and everything it took to be a hardcore Christian, his fellow parishioners were just pantomime in the religious life.

He saw many of them as hypocrites who talked a good talk while living ungodly lives. Worst of all, their hypocrisy was dragging the whole church down, robbing it of the kind of sacred energy and vitality that Christians call revival. And for Jack, this was a four alarm spiritual emergency. He had read Phine, and that guy is sparkler lit. That's his term, getting a sparkler lit. Here's David Daniels again. He's the one who was converted by a Chick-Track back in the 1970s when he was a nine-year-old.

David later went on to work for Jack, and they became friends. He even wrote Jack's biography. And he got the idea of using his characteristic art and he now has a purpose for it. It's not just to entertain. It's to point out that if something needs to change in the world. Jack wanted to shake his church out of its stupor and he thought he knew how. So he sat down with a pen and a sketchbook and using Finney's writings as text, he began to make his own illustrated gospel tracks. Now the very first track he did was this rather scathing track about churches that were not really filled with the Holy Spirit and was called Wino Revival. The track was roughly the size of a typical comic book, and in it Jack basically dragged

his whole church for being a bunch of lazy and selfish hypocrites. He depicted them as playboy reading, rock and roll listening backsliders who were more interested in their Sunday school parties than truly praising the most high. Why no revival is a harsh comic critique that's even more vicious because he used the faces of his fellow parishioners for the comics characters. He used members of his church. And they got them very upset. It did get him in the hot water at his own church because he used real people's likenesses in there. And they didn't appreciate it.

Jack ended up quitting that church, but he saw in his old congregation how a comic could grab people's attention and stir things up, and he decided to take that concept and go way bigger with it. He was going to use comics to reach non-Christians everywhere, with a message of salvation, and he got guidance from something that was decidedly secular. There's a minister who brought him this book, these comic booklets, Chinese Communist comic books that Mao commissioned. That minister showed Jack a half dozen wallet-sized comic books that he'd brought back from a mission

trip to Communist China. They're just small, rectangular, propaganda booklets, and they're basically advocating communism. I think people just realized that small, comic booklets were a great medium for spreading propaganda. The government was using them to teach socialism 101 to its citizens, especially kids. And Chik specifically said that's where he got the idea, was from these Maoist revolutionary comics, and that he was gonna use the devil's medium to fight the devil. Around 1962, Jack got to work creating

his own propaganda booklets, but instead of converting kids to socialism, Jack's comics aimed to convert sinners to a life dedicated to Christ. When Jack first embraced his faith, he didn't just become any Christian. He became an evangelical, and one key tenet of evangelicalism is to evangelize, to spread the faith and win converts. Jack saw himself as a soldier in a holy war, and he was motivated by his hatred of what

I'm just going to call the 60s. I see Chick as basically understanding himself as situated in this almost mythic narrative where the forces of evil have conspired. Jason Bivens, who teaches religious study, says that for Jack and his fellow evangelicals, the social changes of the 1960s were essentially a declaration of war. The forces of evil that Jack saw

conspiring all around him were, in no particular order, equal rights for gay people, sexual liberation, the so-called divorce revolution, and the Supreme Court's ban on mandatory prayer and Bible reading in public schools. Clearly, this is a guy who himself is being rattled daily by America and how America is developing. And so if institutions are not similarly rattled, that's going to immediately code as a problem to him. Jack's aim was to rattle the cage. Like many evangelicals, he positioned himself as an embezzled outsider who had no choice

but to spiritually take up arms and fight. Jack Stargates included anything he associated with sorcery or the occult. He saw it all as part of Satan's plot to lure people away from Christ and into hell. You'd see it tracked about how dungeons and dragons will lead you to hell. You know, not just hell, but you'll be murdered brutally murdered by a demon or a witch in violent, gory detail before you're then cast into the lake of fire in the last panel. Jack came for Ouija boards, witches, heavy metal, Satan, obviously, even Halloween. That dude hated Halloween. You just get these depictions of, you know, a mass murderer abducting you while you're trick-or-treating or being, you know, secretly abducted into a satanic group simply by attending

a rock concert, this kind of stuff. Those sorts of tracks might sound ridiculous, like Jack just kind of hated fun. But he's also made comics that are much darker, uglier, and honestly dangerous. He depicts Muslims as demon worshipers who are inherently violent and bent on taking over America. There are more than three dozen chick-tracks attacking Islam, Hinduism, and other faiths that Jack has labeled false religions. Another of Jack's consistent targets was homosexuality.

In one of his most famous tracks, Jack goes hard on the Sodom and Gomorrah story. In another, frankly, horrifying, chick-tracked, he portrays homosexuality as a product of childhood rape and what some evangelicals like to call the gay agenda. Over the decades, Jack has been heavily criticized and rightly, as a purveyor of hate literature. And whenever he gets attacked, he looks at that as, that sounds like something that, you know, the spin inspired by Satan. He's at war with me, and this is proof that it's working.

This kind of confrontational finger in your face, fight picking energy, drove Jack Chick from the moment that he sat down to create his gospel tracks in the early 1960s. And for the next few years, Jack spent every second of his free time working feverishly on those comics. He would make his illustrated panels, get them printed, and then write in his kitchen, he assembled the pages into eight to ten-inch booklets about the same size as typical comic books. By the early 1960s, the chicks had turned their home into a kind of production pages into eight to ten-inch booklets about the same size as typical comic books.

By the early 1960s, the chicks that turned their home into a kind of production center, where Jack would write and draw. He's sitting at his kitchen table. He's working on his own work for the first time. With an unknown audience, he's not targeting the syndicates. He's not drawing for his boss in the aerospace industry. And in my opinion, it's some of the best work he ever did. That's because depictions of hell are fantastic.

And they're very detailed. It shows the quantity of the line work, just the amount of cross-atching and pen marks on the page. It was not a rush job. of cross-adging and pen marks on the page. It was not a rushed job. Around the same time that Jack had been developing as a comic artist, horror comics like Tales from the Crypt and The Vault of Horror had become super popular. And even though Jack never acknowledged it, Dan Rayburn is convinced that those horror

comics had a big influence on Jack's visual style. It's very kind of 1962 vision of mainstream America, where all the adults are wearing suits and smoking cigarettes and drinking hard drinks. The demons are cartoony and the people are realistic and drawn straight. That's the tension that makes the comic strip work. Is the cartoony hell's minions versus the very straightforward mainstream? I think especially with the demons nightmare. A demons nightmare was the first of what Jack Chick called his soul-winning tracks.

Books meant to be purchased at Christian bookstores and handed out to bring non-believers into the faith. It also has the kind of weirdness that make comics, comics, tropes that Jack would use over and over again for the next several decades. The devils are imp. They are little cute, neurotic little demons with exaggerated facial expressions.

And when they get nervous, drops of sweat jump under their head or run down their face. The evil imbs ride an express elevator back and forth between the bowels of hell and the city streets. One demon plays the violin while serenading an innocent teenager with a lullaby. If you didn't read the text, you might even mistake it for just a regular comic. He was very much using the idea of a comic, funny booklet to hook you into his fire and

brimstone, eternal damnation message, and the effect is really strong on the reader. And the cover that Jack drew for a demon's nightmare became a template for his comics. It features a two-color illustration on one half and the track title in bold white letters on the other half. This elegant, instantly recognizable, split-cover design became the standard look for almost all chick tracks. It's possible though that Jack's tracks would have never gone global,

that they'd never have found their way into every nook and cranny of our public space if it weren't for just one little tweak. And we'll get into what that is after the break. In 1969, the print shop owner that Jack Chick had been using to make his tracks was modifying his process to fill some other orders. Here's Jack's biographer, David Daniels again. And he went to Jack and said, we're not going to be able to print these big format things anymore. Do you think you could shrink it down to keep using the same printer? Jack needed to cut his tracks by more than half from classic comic book size down to a little under three by five inches.

Jack said, sure. And so he took the longer tracks and made them shorter and he shrunk the art down, modified it if he needed to, redid some of the art and stuff, but it actually made it wonderful because it fits in the pocket now. Jack's decision to cut his comic books down to pocket-sized booklets helped launch chick tracks out into the world. He pioneered a successful formula by mashing up grabby propaganda comic art with Bible verses and evangelical messaging. And then he took all of that and shrank it down into these little viral packages, almost like little zines. And the newly reformatted comics were perfect tools for proselytizing. You know, I think there's a secret about evangelicals,

which is that a lot of people find it hard to evangelize. Melanie McCallister teaches American studies and she wrote a book about evangelicals. It's not an easy thing for most people to talk to friends or strangers and say, this is what I believe, this is what I think you should believe. It's difficult for a lot of people. Prostletizing to complete strangers was a fundamental part of evangelicalism.

They call it witnessing. But what if your God-fearing heart was no match for your crippling social anxiety? These little comics were great for shy Christians. As a Jack Chick comic character once said, witnessing doesn't have to be terrifying. Chick tracks make it easy. Like here, I'm going to show you this thing. It's not exactly me talking to you.

I'm showing you this thing and telling you about this thing that we can read together. The timing couldn't have been better for Jack to drop his new and improved gospel comics. Jack's redesign in 1969 coincided with some big changes that were happening in the Christian world. Changes that would help put chick tracks in serious demand. First, American evangelicals were becoming leaders in global missionary work, and many

saw chick tracks as vital tools for witnessing abroad. And second, in the period of the 1970s, evangelicals like everybody else become more interested in a kind of countercultural feel to the things that they're doing. And so they want things to be relevant, to be accessible, to be relevant, to be accessible, to be user-friendly. This was a period of resistance and all kinds of experimentation, and lots of evangelicals thought that the way to save souls was to lure them in with an appeal to this countercultural vibe.

The long-haired hippie preachers, the huge woodstock-type festivals for Jesus' people, and Christian rock, all of it brought to you by this evangelical revolution. As preachers try to connect with the youth, many of them would whip out Jack's little Christian comic books, which at least seem to have an openness and edginess that were in sync with the times. And so people like Jack Chick who are offering easily digestible user friendly short entrees into the faith, they make sense. And the way they just wouldn't have made sense in the early 1960s.

Orders for Jack's tracks came pouring in. Business was so hot that Jack had to move his company from his garage to an industrial suite in Pomona. Chick publications is really taking off. They've bought their own printer. They've got their distribution networks. They're getting everything out there. They're making money. Next, in order to appeal to a wider and younger audience, Jack decided to hire a more modern and more skillful illustrator named Fred Carter. Jack needed Fred to reach the younger generation who were accustomed to more muscular action

comics that they'd grown up with in Marvel Comics, etc. And that's the niche that Fred could fill. The Jack never could because Jack's tile was a cartoony style that was still rooted in the newspaper strip era. By the late 70s, Jack's company had pushed more than 100 million chick tracks out the door. There's an old chick publications logo that shows the planet earth encircled like Saturn by a ring of chick tracks.

And it's not really an exaggeration. In the decades since Jack started chick publications, his cheap, very cool looking pocket-sized comics reached a type of popularity that's otherwise reserved for best-selling novels and the daily paper. Maybe bigger. A couple of years ago, the company sold its one billionth tract. A lot of people say, okay, well, that's pretty impressive. That's how many he publish, but that's not how many that have been read, because the average chick track goes through many people's hands. They read them, and then they pass them on to somebody else, because, you know, hey, I'm done reading it. And they'll do that 10 times or so. So his reach is much more broad

than your average book reader. Chick publications is still going strong today, even without its eponymous leader. Jack died in 2016 when he was 92 years old. To this day, his company gets tons of orders from missionaries. Even Jellicle still participate in a time-honored practice that they call tract bombing, where they swarm your neighborhood sometimes at night and flood it with hundreds of booklets on windshields and door knobs in mailboxes and under your front door.

And when you wake up, it's as if chick tracts have rained down down like one of the 10 plagues. I talk to several people who have thought a lot about Jack Chick's work, and most of them absolutely detest his messages. After all, chick tracks have been an undeniable, uncontainable source of viral hate. Over the years, Jack's focus intensified from general moral decay to much uglier and more detailed yarns about homosexuality and pretty much all non-protestant religions. But there's still something about the artist and his weird little comic books that's interesting

and even a luring from many of those folks. When I was growing up, you'd get them on Halloween, you would find them scattered across town. I was a paper boy and I would find a lot of chick tracks there. When Dan Rayburn was a kid in Iowa City in the 1970s and 80s, he came across chick tracks just the way Jack Chick intended, everywhere. In front of my elementary school, you know, at the beginning of the year, somebody would leave a little pile of chick tracks there for the kids, and we would all grab them. But instead of spreading them around the way Jack wanted, as a college kid Dan did what many

collectors have done, he just hoarded them away for himself. You know, my roommates and I would kind of laugh about them and you keep them on the on the little tray next to your, you know, your rolling papers and your copy of Led Zeppelin 2, they'd kind of migrate to the top of the toilet and people would read them while they used the bathroom and they'd just sort of disintegrate and fall apart. None of those chick tracks ever converted Dan, but he did become an avid chick track reader. He couldn't help it. The comics just seems so over the top. In the last few decades, Jack has found a pretty big audience with people like Dan.

Folks who are actually sucked in and even tickled by the horrifying and self-righteous everything phobia of chick tracks. On fan sites, collectors have videos where they lean fully into the weirdness of chick's comics. Oh, hi, friends. Preacher here. Hey, friends, today I want to invite you

to become a member of the Chick-Track Club. Now, you know those. Those are the old comic booklets that put the fun back in fundamentalism. Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha,odies of themselves. Hilarious precisely because they're such earnest, paranoid relics. Others see parallels between chick tracks and early DIY zine culture. Here's Jason Bivens again. You know, chick was punk as fuck. He controlled his own distribution. It's almost like staple gunning advertisements for your show or leaving free copies of your

fanzine on the front, you know, on the canter of the record store. It's a similar kind of mentality. Get the word out, repeat the message, and hopefully effect change that way. Jack Chick has been called a lot of things in the press over the last 60 years. Alunatic Jesus Freak, a comic scareremonger, a fire-breathing, Helen Brimstone preacher, and an underground cartooning genius. His tracks are just as complicated, shocking, graphic, hateful, and just plain mean. And for better or for worse, completely unique. It's what drew readers to chick tracks

from the very beginning. 99% of the visible was produced this week by Christopher Johnson, edited by Kelly Prime, sound mix and a digital production by Martin Gonzales, music by director San Swan Rihau. Satan is real, was written by the Louven Brothers, this version performed here by the Grace Thrillers. Delaney Hall is our senior editor, Kurt Colestad is the digital director. The rest of the team includes Chris Perrubé, Jason Dillion, and Mithit Sheld, Vivian Le, Lashamadon, Jacob Maldonana Medina, Joe Rosenberg, and me Roman Mars. The 99% invisible logo was created by Stefan Lawrence. We are a part of the Stitcher & Serious XM Podcast family, now headquartered six blocks

north in the Pandora building. And beautiful. Uptown, Oakland, California. You can find the show and join discussions about the show on Facebook. You can tweet at me at Roman Mars and the show at 99PI org. We're on Instagram, Reddit and TikTok too. You can find links to other you. Saytime is real. Working is weird.