Posts Tagged ‘R. Crumb’
July 7, 2015 | by Jeffery Gleaves
Stanley Mouse and the sixties psych-rock aesthetic.
If I were to pick half a dozen of the definitive 1960’s people, Stanley Mouse would be one of them. —Bill Graham
Read any book about the sixties scene in San Francisco and you’ll run into Stanley “Mouse” Miller. Born in Fresno and raised in Detroit, Mouse moved to San Francisco in 1965, where he was commissioned by the concert organizer Bill Graham to illustrate the rock posters for which he would become best known. Mouse spent the years around the Summer of Love hocking T-shirts, designing posters for hundred-dollar commissions, running a successful hot-rod memorabilia company, and eventually designing album covers for the likes of the Grateful Dead, Journey, Neil Young, and Jimi Hendrix.
A new book, California Dreams, pays tribute to Mouse’s imagination and colorful, explosive aesthetic. He honed his style on the hot-rod scene in Detroit, where he pinstriped cars, sold T-shirts featuring drag-racing characters, and custom painted dashboards for six-packs of beer, all while still in high school. His early art portrays the speed and metal of American automobiles, but it’s also heavily influenced by the deformed monsters who took center stage in the golden age of TV sci-fi circa the 1950s, a cathartic genre for post–A-bomb Americans and their cold war anxieties. Read More »
January 12, 2015 | by Dan Piepenbring
The New York Observer has an excellent new interview with Robert Crumb, whose response to the Charlie Hebdo attack appeared in Libération this weekend. Crumb has lived in France for a quarter of a century—in typical fashion, he was moved to respond not by any sort of ethical imperative but because he worried what people would say about him if he stayed quiet: “Where’s Crumb? Why doesn’t he come forward? What the hell’s the matter with him?” And, as he makes clear in the interview, his aim was not to be controversial, but personal:
Libération called me and said, “Crumb, can you do a cartoon for us? About what you think about this, you know, you are a major cartoonist, and you live in France.” So I thought about it. I spent a lot of time thinking about it. I’m doing the dishes, or whatever, I was thinking, “What should I do for that cartoon … ” I had a lot of ideas. Other people come up with these, you know, clever cartoons that comment on it, like … This one guy did a cartoon showing a bloody dead body laying there, and a radical Muslim standing over him with a Kalashnikov, saying, “He drew first!” Stuff like that. That’s good, that’s clever, you know, I like that. But, me? I gotta like, you know, when I do something, it has to be more personal. I said, first: “I don’t have the courage to make an insulting cartoon of Muhammed.”
Then I thought, “OK, I’m the Cowardly Cartoonist … As a Cowardly Cartoonist, I can’t make some glib comment like that, you know? I have to, like, make fun of myself. So instead of drawing the face of Muhammed [laughs], I drew the ass of Muhammed. [Laughs.] But then I had myself saying, in small lettering, “Actually, this is the ass of my friend of Mohamid Bakshi, who’s a film director in Los Angeles, California.” So if they come at me, I’m gonna say, “No, look, it’s not Muhammed the Prophet, it’s this guy, Mohamid Bakshi.” So, you know.
[…] So, then Aline [Crumb’s wife] had this idea for another cartoon, which we also sent to Libération, a collaboration, that’s showing her looking at the drawing saying, “Oh, my God, they’re going to come after us! This is terrible … I want to live to see my grandchildren!” And then she has me saying, “Well, it’s not that bad. And, besides, they’ve killed enough cartoonists, maybe they’ve gotten it out of their system.”
You can read the whole interview here. (Mohamid Bakshi, by the way, is a pointed reference to Ralph Bakshi, a director and animator with whom Crumb has feuded for some forty years over the rights to Crumb’s iconic Fritz the Cat character.)
Crumb also gave the first interview in our Art of Comics series in 2010, in which he remarks on the reputation of cartoonists and comic-book artists, who in the not-so-distant past were not regarded as artists at all: Read More »
January 22, 2013 | by Rex Weiner
Alan Shenker, an artist known among the underground cartoonists of the late sixties as Yossarian, died last week, in New York, at the age of sixty-seven. Born in Levittown, he was a downtown habitué and his work was published in the East Village Other, among many other publications of the era.
A kind of ruthless patricide was implicit in Yossarian’s cover art for the February 1972 issue of the New York ACE. He was close to “the Arab,” as the East Village Other’s editor, Yaakov Kohn, was known, and now Yossarian was one of the defectors from the already tottering EVO to the new paper which I’d cofounded with Robert “Honest Bob” Singer. Read More »
October 11, 2012 | by Sadie Stein
February 8, 2012 | by Sadie Stein
A cultural news roundup.