R. Crumb

Robert Dennis Crumb (; born August 30, 1943) is an American artist who often signs his work R. Crumb. His work displays a nostalgia for American folk culture of the late 19th and early 20th centuries, and satire of contemporary American culture.

Crumb contributed to many of the seminal works of the underground comix movement in the 1960s, including being a founder of the first successful underground comix publication, ''Zap Comix'', contributing to all 16 issues. He was additionally contributing to the '' East Village Other'' and many other publications, including a variety of one-off and anthology comics. During this time, inspired by psychedelics and cartoons from the 1920s and 1930s, he introduced a wide variety of characters that became extremely popular, including countercultural icons Fritz the Cat and Mr. Natural, and the images from his '' Keep On Truckin''' strip. Sexual themes abounded in all these projects, often shading into scatological and pornographic comics. In the mid-1970s, he contributed to the '' Arcade'' anthology; following the decline of the underground, he moved towards biographical and autobiographical subjects while refining his drawing style, a heavily crosshatched pen-and-ink style inspired by late 19th- and early 20th-century cartooning. Much of his work appeared in a magazine he founded, '' Weirdo'' (1981–1993), which was one of the most prominent publications of the alternative comics era. As his career progressed, his comic work became more autobiographical.

In 1991 Crumb was inducted into the comic book industry's Will Eisner Comic Book Hall of Fame, and in 1994 the Terry Zwigoff film '' Crumb'' explored his artistic career and personal life. He was married to cartoonist Aline Kominsky-Crumb, with whom he frequently collaborated. Their daughter, Sophie Crumb, has also followed a cartooning career.

Early life (1943–1966)

Robert Crumb was born August 30, 1943, in Philadelphia to Catholic parents of English and Scottish descent, spending his early years in West Philadelphia and Upper Darby. His father, Charles Vincent Crumb, authored the book ''Training People Effectively''.

His mother, Beatrice Loretta Crumb (née Hall), was a housewife who reportedly abused diet pills and amphetamines. Crumb's parents' marriage was unhappy and the children were frequent witnesses to their parents' arguments. The couple had four other children: sons Charles Vincent Crumb Jr. and Maxon Crumb, both of whom suffered from mental illness, and daughters Carol and Sandra. The family often moved between Philadelphia and Charles's hometown, Albert Lea, Minnesota. In August 1950, the Crumbs moved to Ames, Iowa. For two years, Charles, a Marine Corps sergeant, was an instructor in the Naval R.O.T.C. program at Iowa State College. The family moved to Milford, Delaware, when Crumb was twelve and where he was an average student whose teachers discouraged him from cartooning.

Inspired by Walt Kelly, Fleischer Brothers animation and others, Crumb and his brothers drew their own comics. His cartooning developed as his older brother Charles pushed him and provided feedback. In 1958 the brothers self-published three issues of ''Foo'' in imitation of Harvey Kurtzman's satirical '' Humbug'' and '' Mad'' which they sold door-to-door with little success, souring the young Crumb on the comic-book business. At fifteen, Crumb collected classical jazz and blues records from the 1920s to the 1940s. At age 16 he lost his Catholic faith.

Career

Early work (1962–1966)

Crumb's father gave him $40 when he left home after high school. His first job, in 1962, was drawing novelty greeting cards for American Greetings in Cleveland, Ohio. He stayed with the company for four years, producing hundreds of cards for the company's Hi-Brow line; his superiors had him draw in a cuter style that was to leave a footprint on his work throughout his career.

In Cleveland, he met a group of young bohemians such as Buzzy Linhart, Liz Johnston, and Harvey Pekar. Dissatisfied with greeting card work, he tried to sell cartoons to comic book companies, who showed little interest in his work. In 1965, cartoonist Harvey Kurtzman printed some of Crumb's work in the humor magazine he edited, ''Help!'' Crumb moved to New York, intending to work with Kurtzman, but ''Help!'' ceased publication shortly after. Crumb briefly illustrated bubblegum cards for Topps before returning to Cleveland and American Greetings.

Crumb married Dana Morgan in 1964. Nearly destitute, the couple traveled in Europe, during which Crumb continued to produce work for Kurtzman and American Greetings, and Dana stole food. The relationship was unstable as Crumb frequently went his own way, and he was not close to his son, Jesse (born in 1968).

In 1965 and 1966 Crumb had a number of Fritz the Cat strips published in the men's magazine ''Cavalier''. Fritz had appeared in Crumb's work as early as the late 1950s; he was to become a hipster, scam artist, and bohemian until Crumb abandoned the character in 1969.

Crumb was becoming increasingly uncomfortable with his job and marriage when in June 1965 he began taking LSD, a psychedelic drug that was then still legal. He had both good and bad trips. One bad trip left him in a muddled state for half a year, during which for a time he left Dana; the state ended when the two took a strong dose of the drug together in April 1966. Crumb created a number of his best-known characters during his years of LSD use, including Mr. Natural, Angelfood McSpade, and the Snoid. His work in the underground comics scene coincided with the rise of Timothy Leary's acid tests and psychedelics generally which led to deals with psychedelic artists such as the Grateful Dead.

''Zap'' and (1967–1979)

In January 1967 Crumb came across two friends in a bar who were about to leave for San Francisco; Crumb was interested in the work of San Francisco-based psychedelic poster artists, and on a whim asked if he could join them. There, he contributed upbeat LSD-inspired countercultural work to underground newspapers. The work was popular, and Crumb was flooded with requests, including to illustrate a full issue of Philadelphia's '' Yarrowstalks''.

Independent publisher Don Donahue invited Crumb to make a comic book; Crumb drew up two issues of ''Zap Comix'', and Donahue published the first in February 1968 under the publisher name Apex Novelties. Crumb had difficulty at first finding retailers who would stock it, and at first his wife took to selling the first run herself out of a baby carriage.

Crumb met cartoonist S. Clay Wilson, an art school graduate who saw himself as a rebel against middle-class American values and whose comics were violent and grotesque. Wilson's attitude inspired Crumb to give up the idea of the cartoonist-as-entertainer and to focus on comics as open, uncensored self-expression; in particular, his work soon became sexually explicit, as in the pornographic ''Snatch'' he and Wilson produced late in 1968.

The second issue of ''Zap'' appeared in June with contributions from Wilson and poster artists Victor Moscoso and Rick Griffin. Artist H.Fish also contributed to ''Zap''. In December, Donahue published the still-unreleased issue as 0 and a new third issue with Gilbert Shelton joining the roster of regulars. ''Zap'' was financially successful, and developed a market for underground comix.

Crumb was a prolific cartoonist in the late 1960s and early 1970s; at his peak output he produced 320 pages over two years. He produced much of his best-known work then, including his '' Keep On Truckin''' strip, and strips featuring characters such as the bohemian Fritz the Cat, spiritual guru Mr. Natural, and oversexed African-American stereotype Angelfood McSpade. During this period, he launched a series of solo titles, including ''Despair'', ''Uneeda'' (published by Print Mint in 1969 and 1970 respectively), ''Big Ass Comics'', ''R. Crumb's Comics and Stories'', ''Motor City Comics'' (all published by Rip Off Press in 1969), ''Home Grown Funnies'' (Kitchen Sink Press, 1971) and ''Hytone Comix'' ( Apex Novelties, 1971), in addition to founding the pornographic anthologies ''Jiz'' and ''Snatch'' (both Apex Novelties, 1969). Sabin, Roger (1996). "Going underground". ''Comics, Comix & Graphic Novels: A History Of Comic Art.'' London, United Kingdom: Phaidon Press. p. 92. .

Crumb's work also appeared in ''Nasty Tales'', a 1970s British underground comic. The publishers were acquitted in a celebrated 1972 obscenity trial at the Old Bailey in London; the first such case involving a comic. Giving evidence at the trial, one of the defendants said of Crumb: "He is the most outstanding, certainly the most interesting, artist to appear from the underground, and this (Dirty Dog) is Rabelaisian satire of a very high order. He is using coarseness quite deliberately to get across a view of social hypocrisy."

''Weirdo'' (1980–1993)

While meditating in 1980, Crumb conceived of a magazine with a lowbrow aesthetic inspired by punk zines, '' Mad'', and men's magazines of the 1940s and 1950s. From 1981 Crumb edited the first nine issues of the twenty-eight issue run of '' Weirdo'', published by Last Gasp; his contributions and tastes determined the contents of the later issues as well, edited by Peter Bagge until 17, and Aline for the remainder of the run. The magazine featured cartoonists new and old, and had a mixed response. Crumb's fumetti was so unpopular that it has never appeared in Crumb collections.

Later life (1994–present)

The Crumbs moved into a house in southern France in 1991, which is said to have been financed by the sale of six Crumb sketchbooks. The documentary '' Crumb'', directed by Terry Zwigoff, appeared in 1994—a project on which Zwigoff had been working since 1985. The film won several major critical accolades.

From 1987 to 2005 Fantagraphics Books published the seventeen-volume '' Complete Crumb Comics'' and ten volumes of sketches. Crumb (as "R. Crumb") contributes regularly to '' Mineshaft'' magazine, which, since 2009, has been serializing "Excerpts From R. Crumb's Dream Diary".

In 2009 Crumb produced ''The Book of Genesis'', an unabridged illustrated graphic novel version of the biblical Book of Genesis. In 2016, the Seattle Museum of Art displayed the original drawings for ''The Book of Genesis'' as part of an exhibit entitled "Graphic Masters: Dürer, Rembrandt, Hogarth, Goya, Picasso, R. Crumb."

In January 2015, Crumb was asked to submit a cartoon to the left-wing magazine ''Libération'' as a tribute for the ''Charlie Hebdo'' shooting. He sent a drawing titled "A Cowardly Cartoonist", depicting an illustration of the backside of "Mohamid Bakhsh", a reference to Muhammad, founder of Islam, and Ralph Bakshi, who directed the film adaptation '' Fritz the Cat'' (1972).

In 1989, in an issue of Hup Magazine, Crumb had drawn a satirical comic, '' Point the Finger'', lampooning businessman Donald Trump. This comic received more media attention in 2016, when Trump was elected U.S. President. Crumb has remained a vocal opponent of Trump and his administration, which he expressed in various interviews and comics .

Professional collaborations

A friend of comic book writer Harvey Pekar, Crumb illustrated over 30 stories of Pekar's in the comic book series ''American Splendor'', primarily in the first eight issues (1976–1983). As ''The Complete Crumb Comics'' co-editor Robert Fiore wrote about their collaborations:

Crumb collaborated with his wife, Aline Kominsky-Crumb, on many strips and comics, including '' Dirty Laundry Comics'', '' Self-Loathing Comics'', and work published in ''The New Yorker''.

In 1978, Crumb allowed his artwork to be used as pictorial rubber stamp designs by Top Drawer Rubber Stamp Company, a collaboration between cartoonist Art Spiegelman, publisher Françoise Mouly, and people living at Quarry Hill Creative Center in Rochester, Vermont. R. Crumb's imagery proved to be some of the most popular designs produced by this avant-garde pictorial stamp company.

In the 1980s and 1990s, Crumb illustrated a number of writer Charles Bukowski's stories, including the collection '' The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship'' and the story " Bring Me Your Love".

In 1984–1985 Crumb produced a series of illustrations for the tenth anniversary edition of Edward Abbey's environmental-themed novel '' The Monkey Wrench Gang'', published in 1985 by Dream Garden Press of Salt Lake City. Many of these illustrations also appeared in a 1987 Monkey Wrench Gang calendar, and remain available on T-shirts.

''R. Crumb Comix'', a theatrical production based on his work and directed by Johnny Simons, was produced in Fort Worth, Texas, in 1986. It was revived at Duke University in 1990, and co-starred Avner Eisenberg. The development of the play was supervised by Crumb, who also served as set designer, drawing larger-than-life representations of some of his most famous characters all over the floors and walls of the set.

Crumb's collaboration with David Zane Mairowitz, the illustrated, part-comic biography and bibliography '' Introducing Kafka'' (1993), a.k.a. ''Kafka for Beginners'', is one of his less sexual- and satire-oriented, comparably highbrow works. It is well-known and favorably received, and due to its popularity was republished as ''R. Crumb's Kafka''.

Musical projects

Crumb has frequently drawn comics about his musical interests in blues, country, bluegrass, cajun, French Bal-musette, jazz, big band and swing music from the 1920s and 1930s, and they also heavily influenced the soundtrack choices for his bandmate Zwigoff's 1995 '' Crumb'' documentary. In 2006, he prepared, compiled and illustrated the book ''R. Crumb's Heroes of Blues, Jazz & Country'', with accompanying CD, which derived from three series of trading cards originally published in the 1980s.

Crumb was the leader of the band R. Crumb & His Cheap Suit Serenaders, for which he sang lead vocals, wrote several songs and played banjo and other instruments.Lynch, Megan
"The Cheap Suit Serenaders,"
AllMusic.com. Accessed Nov. 17, 2019. Crumb often plays mandolin with Eden and John's East River String Band and has drawn four covers for them: 2009's ''Drunken Barrel House Blues'', 2008's ''Some Cold Rainy Day'', 2011's ''Be Kind To A Man When He's Down'' on which he plays mandolin, the latest (2022) "Goodbye Cruel World", on which he sings vocals, plays ukulele, mandolin & tiple. In 2013 he played on their album ''Take A Look at That Baby'' and also took part in the accompanying music video.

With Dominique Cravic, in 1986 he founded "Les Primitifs du Futur"—a French band whose eclectic music has incorporated Bal-musette, folk, jazz, blues and world music—playing on their albums "Cocktail d'Amour" (1986), "Trop de Routes, Trop de Trains" (1995), "World Musette" (1999) and "Tribal Musette" (2008). He also provided the cover art for these albums.

Crumb has released CDs anthologizing old original performances gleaned from collectible 78-rpm phonograph records. His ''That's What I Call Sweet Music'' was released in 1999 and ''Hot Women: Women Singers from the Torrid Regions'' in 2009. ''Chimpin' the Blues,'' a collaboration with fellow record collector Jerry Zolten that combines rare recordings with conversation about the music and the musicians, was released in 2013. Crumb drew the cover art for these CDs as well.

Album covers

Crumb has illustrated many album covers, most prominently '' Cheap Thrills'' by Big Brother and the Holding Company and the compilation album '' The Music Never Stopped: Roots of the Grateful Dead''.

Between 1974 and 1984, Crumb drew at least 17 album covers for Yazoo Records/ Blue Goose Records, including those of the Cheap Suit Serenaders. He also created the revised logo and record label designs of Blue Goose Records that were used from 1974 onward.

In 1992 and 1993, Robert Crumb was involved in a project by Dutch formation the Beau Hunks and provided the cover art for both their albums ''The Beau Hunks play the original Laurel & Hardy music'' 1 and 2. He also illustrated the albums' booklets.

In 2009, Crumb drew the artwork for a 10-CD anthology of French traditional music compiled by Guillaume Veillet for . The following year, he created three artworks for Christopher King's ''Aimer Et Perdre: To Love And To Lose: Songs, 1917–1934''.

Style

As told by Crumb in his biographical film, his artwork was very conventional and traditional in the beginning. His earlier work shows this more restrained style. In Crumb's own words, it was a lengthy drug trip on LSD that "left him fuzzy for two months" and led to him adopting the surrealistic, psychedelic style for which he has become known.

A peer in the underground comics field, Victor Moscoso, commented about his first impression of Crumb's work, in the mid-1960s, before meeting Crumb in person: "I couldn't tell if it was an old man drawing young, or a young man drawing old." Robert Crumb's cartooning style has drawn on the work of cartoon artists from earlier generations, including Billy DeBeck ( Barney Google), C. E. Brock (an old story book illustrator), Gene Ahern's comic strips, Basil Wolverton ( Powerhouse Pepper), George Baker ('' Sad Sack''), Ub Iwerks's characters for animation, Friz Freleng's drawings for the early ''Merrie Melodies'' and ''Looney Tunes'' of the 1930s, Sidney Smith ('' The Gumps''), Rube Goldberg, E. C. Segar (Popeye

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