Uncategorized
Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74
(JTA) — Robert Crumb put the “x” in comix by setting to paper his basest sexual longings, including strong-legged Jewish women who were cowgirls and who went by the name Honeybunch Kaminski.
So when an actual strong-legged Jewish cowgirl named Aline Kominsky walked into his life, it was love at first sight, and never wavered.
Aline Kominsky-Crumb, who died Wednesday at 74 in France of pancreatic cancer, was late to the revolution her husband launched in comics a few years before they met, with his Zap Comix. The “x” was a signifier of what was then known as “underground” comics and referred to the unfiltered treatment of humanity that censorious publishers, politicians and public figures had all but washed out of the art.
She soon fully embraced the art form and then helped transform it.
Working with her husband and then on her own, Kominsky-Crumb brought to comics raw self-lacerating accountability and subverted crude stereotypes about Jewish women — including those peddled by her husband — by taking possession of them.
She started out as a self-acknowledged sex object reviled by second-wave feminists and became a hero of younger feminists for modeling unfettered sexual expression. She was the brassy Jewish stereotype who became the muse who guided her husband to a deeper consideration of Judaism.
Kominsky-Crumb, born Aline Ricky Goldsmith in 1948 in the Five Towns, a Jewish enclave on Long Island, had a Jewish upbringing that was in many ways conventional, horrifying and both at the same time. She wrote about the warmth of her grandparents’ home and how she sought in it succor and about the pressures her materialistic parents placed on her. She said she was named for a Five Towns clothing store, Aline Ricky, that sold French fashion knockoffs. She resisted her mother’s pressure to get a nose job.
In one autobiographical comic, she recalls seeing one Jewish girl after another coming into school after plastic surgery. “Me ‘n’ my friends developed a ‘big nose pride,’” she writes, and one of the characters says, “I could not stand to look like a carbon copy!”
She told fellow Jewish cartoonist Sarah Lightman about the ordeal. “Like, I kept my nose, but it was really a close call, because my mother had me in Doctor Diamond’s office and he measured my nose. I remember that. They took an instrument and measured your nose. And then he took a piece of paper and he said,’ look, we can make it look like this.’ And I said, ‘Oh my God.’ My mother said, ‘Oh, it’s gorgeous, gorgeous.’”
In her teens, Kominsky-Crumb fled the suburbs for Manhattan. She studied at Cooper Union, an art school, and lived on the Lower East Side, earning plaudits from her instructors for her painting, but getting bored. She had a baby and gave it up for adoption to a Jewish agency, an experience that scarred her, and later led her to become outspoken in advocating for abortion rights.
After she married Carl Kominsky, they moved to Tucson, Arizona, which she called “hippie heaven.” There, she left her husband for a cowboy who lived with two brothers and his father in what she said was “the middle of nowhere” where she helped out on horseback, albeit under the influence of hallucinogens. (She said her beau was killed in a shootout with a romantic rival after she left.)
In Tucson, she met two pioneers of underground comics, Kim Deitch and Spain Rodriguez. They encouraged her to move to San Francisco, which was the scene of the burgeoning movement.
She did and met Crumb at a party in 1971, within three years of his having created “Honeybunch Kaminski, the drug-crazed runaway” (1968) and “Dale Steinberger, the Jewish Cowgirl.” Kominsky-Crumb, who had kept her first husband’s last name because it sounded more “ethnic” than Goldsmith, was so taken with the her husband’s lustful Jewish imaginings, and how closely she physically resembled them, that when she started creating her own, she named her avatar “Bunch,” a shortened version of the character whose name most closely matched her own.
It was kismet, except it wasn’t at first. Crumb and Kominsky-Crumb got together, but maintained open relationships. Crumb endured Kominsky-Crumb’s dalliances with other men for decades, but Kominsky-Crumb was not as able (or willing) to reciprocate. When one of Crumb’s exes arrived at their commune in Mendocino, she told The Comics Journal in 1990, she was furious. “I had a total s— fit,” she said, “I was wearing these giant platform shoes. I ran out the door and I fell and broke my foot in six places.”
Crumb sent the ex on her way and entertained the recovering Kominsky with a pastime he and his brother worked out as children: They would co-create a comic.
That process drew the couple closer, and also became a decades-long unflinching chronicle of a relationship. A culmination, “Drawn Together,” was critically acclaimed when it came out in 2012.
In one passage in the 2012 book, she gently chides her husband for resorting to antisemitic tropes — although it was tropes about loud, slightly unhinged, sexually voracious Jewish women that drew them together.
One page depicts the couple in bed. Crumb is stung by an accusation of antisemitism from Art Spiegelman. (Spiegelman joined with Crumb to launch the underground comics scene in the 1960s, but they grew apart as Spiegelman, who would author the Holocaust chronicle “Maus,” sought to attach an overarching philosophy to the genre, while Crumb continued to crave crude authenticity.)
Crumb says that Spiegelman “seems to be taking my ruminations about the Jews as antisemitism … I certainly didn’t mean it as such.” Kominsky-Crumb draws herself into the panel, listening to her husband, as a little girl wearing tefillin, a T-shirt with “kosher” in Hebrew and a Star of David pendant. In the next panel, once again appearing as a grown woman in a negligee, she makes clear to Crumb why she feels vulnerable as a Jew in the marriage.
“Dahling, you do call the Jewish religion ‘Brand X’,” she says.. “Now I might even think that’s true in some ways … and I’m one o’ them … I’m allowed to say that!”
Crumb draws himself as wounded but also awakened. “Oh, I see … ulp.” Crumb dedicated his masterwork, “The Book of Genesis,” a searing illustrated narrative of the Bible’s first book, to Aline.
The Crumbs’ collaborative work was celebrated among aficionados, but it wasn’t until 1994’s “Crumb,” a documentary directed by Crumb’s close Jewish friend, Terry Zwigoff, that she emerged into the broader culture. A vibrant, peripatetic Kominsky-Crumb cares for their daughter, Sophie, and revels in their life in a small French village, where they had moved a few years earlier, while Crumb continues to hold back, playing the wounded, misunderstood artist.
It was an arrival of sorts for Kominsky-Crumb. She had for a time been marginalized even on the underground scene, her deceptively simple art derided as sloppy. She helped found the Wimmen’s Comix collective in 1972, and wrote about her Jewish upbringing in the first issue, a piece entitled “Goldie: A Neurotic Woman.” But she was soon frozen out because some of her colleagues thought her musings about longing to be dominated (and her tendency to dress that way to please Crumb) were denigrating to women. “The Yoko Ono of Comics,” is how the New York Times described her early years.
She left the collective and joined another Jewish woman artist, Diane Noomin, in launching “Twisted Sisters” in 1976. Its cover depicts hers seated on a toilet wondering “How many calories in a cheese enchilada.” The message to her erstwhile colleagues, who depicted women heroically, was clear: Kominsky-Crumb would indulge her full unvarnished self.
It would take decades, but a later generation of feminists would come to understand her autobiographical “Bunch” not as a self-loathing caricature but as a means of understanding ones whole self. In 2020, Lightman launched an interview with Kominsky-Crumb by reviewing a 1975 cartoon, “Bunch plays with herself” that shocked even the underground scene at the time with its graphic depictions of a woman exploring every corner of her body.
“I didn’t do it to be disgusting but it’s, like, about every horrible and fun thing you can do with your body,” Kominsky-Crumb told Lightman. “I think it’s an amazing piece of feminist art,” Lightman said in the interview, “because women are drawn to be gazed at, and [here we see] their bodily juices, and everything. … The last panel is the best. ‘My body is an endless source of entertainment’.”
In 2007, she and Crumb created a cover for the Jewish counterculture magazine Heeb, where she is cradling him in her arms. “”I feel so safe in the arms of this powerful Jewish woman!” Crumb says.
By 2018, she was scrolling through her phone to show a New York Times reporter pictures of Crumb cavorting with the grandkids. (Daughter Sophie in adulthood also is a comics artist.) The photos then transition to photos of women’s behinds, taken in Miami.
“I’m enabling his big butt fixation,” she said. “Well I don’t have a big butt anymore so I have to offer him something.”
“It was her energy that transformed the American Crumb family into a Southern French one, with her daughter Sophie living, marrying and having three French children there,” the official Crumb website said in announcing her death. “She will be dearly missed within that family, by the international cartooning community, but especially by Robert, who shared the last 50 years of his life with her.”
—
The post Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74 appeared first on Jewish Telegraphic Agency.
Uncategorized
Hollywood’s Jews take sides in Mark Ruffalo-Paramount antisemitism row
(JTA) — Some 170 notable Jewish personalities have released an open letter defending actor and producer Mark Ruffalo, who has been accused of antisemitism for his comments on Paramount Skydance’s pending acquisition of Warner Bros. Discovery.
Entertainers, rabbis and a physician who is featured in a new documentary about doctors treating Palestinians in Gaza signed the letter released Wednesday, which called the attacks against Ruffalo a “false and dangerous weaponization of charges of antisemitism.” George Clooney also defended Ruffalo on Thursday.
Signatories of the pro-Ruffalo petition include “Broad City” creators Abbi Jacobson and Ilana Glazer; celebrated filmmakers Joel Coen, Jonathan Glazer and Todd Haynes; Pulitzer Prize-winning playwright Tony Kushner; and actors including Hannah Einbinder, Joaquin Phoenix and Debra Winger.
In late August, Ruffalo, the award-winning actor and progressive activist, went on social media to link Paramount Skydance CEO David Ellison, the chief driver of the looming Paramount-Warner Bros. merger, to tech giant Oracle, which Ruffalo claimed is responsible for “an apartheid system of oppression” in Gaza.
Oracle is owned by Ellison’s father, Larry Ellison, one of the world’s richest men; both Ellisons are Jewish and prominent Israel supporters. Oracle also owns a stake in the social media network TikTok’s U.S. operations, and has long been a target of progressives who point to the company’s links to, and public support for, Israel.
“Larry Ellison will own most of ‘Para Bros,’” Ruffalo wrote in the post, which is no longer available, according to a screenshot reproduced by the Hollywood Reporter. The “Spotlight” and Marvel star also called Larry Ellison a “classic oligarch” who is “crushing workers and consolidating the wealth of the world for their own power and concentrated dominance.”
The $110 billion merger is under adjudication in federal court in California following an antitrust lawsuit filed by 12 state attorneys general and the Writers Guild of America. As backlash to the merger has steadily grown across Hollywood and in political and media spaces, Paramount at least since June has been pushing the idea that opposition to the merger has had an antisemitic element.
The company seized on Ruffalo’s comments, immediately releasing a lengthy statement to media after his controversial social media post that accused the actor of invoking “antisemitic tropes,” adding, “This simply exposes the true motivation of some who have advocated opposition to this transaction.”
Several leading Jewish groups have also said his post stepped beyond legitimate criticism of the merger and into classic antisemitic rhetoric about Jewish wealth and power.
In an August statement, the head of the Jewish Federation of Greater Los Angeles said the actor’s comments “combined Jewish wealth, media control, secret technology and sinister global power,” drawing on “recognizable antisemitic tropes with a long and dangerous history.” Other LA-based Jewish activist groups, including Creative Community For Peace and the Simon Wiesenthal Center, have also condemned his comments.
Speaking amid the unfolding controversy about Ruffalo and his use of the word genocide to describe Israel’s campaign in Gaza, “Fauda” co-creator Avi Isaacharoff called him “a rare combination” of “ignorant” and “stupid.”
The Jewish Telegraphic Agency has reached out to Shani Rosenzweig, Ruffalo’s agent and a prominent Jewish entertainment figure in her own right, for comment and a Ruffalo interview request. Rosenzweig did not respond to either request.
Ruffalo has found support from several progressive Jewish figures beyond the entertainment industry, including IfNotNow co-founder Simone Zimmerman, Israeli Holocaust historian Raz Segal and Jewish Currents editor Peter Beinart.
In their open letter defending Ruffalo, the progressive Jewish cohort argued the actor was right to draw links between Israel’s behavior and the merger.
“Pointing out the crucial connections between what is happening in Gaza and what is happening in Hollywood is the exact opposite of antisemitism,” the letter reads. “It is, for us, the very essence of Jewish ethical duty.” The letter points to specific statements from Larry Ellison, and Oracle executives, describing their surveillance and artificial-intelligence technological ventures and their positive relationship with Israel.
Other entertainment figures have tried to thread a more careful needle. Oscar-winning filmmaker Kenneth Lonergan, who has directed Ruffalo in two movies and was at one point developing an American remake of the hit Israeli TV series “Shtisel,” defended the actor from antisemitism charges this week while also noting, “I disagree profoundly with many of his positions on the Middle East, Israel, Gaza, and Iran’s constellation of fanatical Islamist fundamentalist proxies.”
“But Mark and I have been friends for over 30 years,” Lonergan continued in his letter to the Hollywood Reporter. “The notion that he is antisemitic is overtly preposterous, and the accusation itself a cynical and disgusting lie.”
Ruffalo is soon scheduled to attend the Toronto International Film Festival for the Sept. 10 premiere of the biopic “Being Heumann,” about Jewish-American disability rights activist Judy Heumann, in which he co-stars.
Opposition to David Ellison’s bid to combine two historic media giants, each having recently weathered smaller mergers of their own, has grown considerably in recent months. Those objections have come both from Hollywood rank-and-file concerned about further industry consolidation, as well as from political and media figures voicing objections to Ellison’s close ties to President Donald Trump and his intentions with Warner’s flagship news property, CNN.
The merger was initially thought to be on track to be finalized this fall with Trump’s blessing. The president has publicly championed the merger, and his Justice Department approved the deal in June. But talks have ground to a halt following the antitrust lawsuit. The fate of the merger is now in question, with Paramount having agreed to a trial in March 2027 and on the hook for a $7-million-per-day “ticking fee” it had previously agreed to pay out to shareholders if the deal failed to close by this October.
Prior to Ruffalo’s post, Ellison himself published a New York Times op-ed defending his merger plans.
This article originally appeared on JTA.org.
The post Hollywood’s Jews take sides in Mark Ruffalo-Paramount antisemitism row appeared first on The Forward.
Uncategorized
Spanish far-right activists use Nazi-style salutes in anti-migrant protests
(JTA) — MADRID — Dozens of far-right activists raised their arms in Nazi-style salutes and sang a Spanish fascist anthem in the heart of Madrid on Wednesday, amid protests against the government’s handling of migration.
Between 60 and 70 members of Núcleo Nacional, an ultra-nationalist anti-immigrant group, participated in mass demonstrations of tens of thousands of people across Spain, a spokesperson for the group told the Jewish Telegraphic Agency. The protests were in response to an influx of migrants from Morocco into Ceuta, a Spanish territory in North Africa.
The broader demonstrations in Madrid were called by Spain’s conservative People’s Party and far-right Vox party, drawing about 50,000 people to the streets, according to government estimates. The protests were planned for Ceuta Day, a holiday marking the Portuguese conquest of Ceuta from the Marinid Sultanate of Morocco in the 15th century, beginning centuries of Portuguese and later Spanish rule.
Núcleo Nacional activists were shown on video making the outstretched-arm gesture associated with neo-Nazi movements and chanting, “Ceuta is not for sale, Ceuta will defend itself.” They also sang the song “Cara al Sol,” a fascist anthem from 1935 that became central to the regime of former Spanish dictator Francisco Franco, who ruled from 1939 to 1975. Núcleo Nacional denied a link between their gesture and Nazi history.
The demonstration ended in clashes between protesters and police, with four people arrested and four police officers injured, according to local authorities. Protesters were also shown on camera grabbing, pushing and cursing at multiple journalists who were covering the rally.
Francisco Martín Aguirre, the delegate of the Spanish government in Madrid, condemned “the violent acts that occurred at the end of the gatherings in Madrid.”
“All respect to those who legitimately and peacefully protest for the cause they deem fit,” he said on X. “Violence is never the way and those who daily incite it are also responsible.”
A spokesperson for Núcleo Nacional told JTA that the group was not performing a Nazi salute, but an “Iberian or Roman salute.”
“It represents our ancestors,” the spokesperson said. They added that the group was protesting to “support the people of Ceuta.”
The outstretched arm salute in Nazi Germany was inspired by a gesture popularized in the 1920s in Italy’s fascist movement, which later allied with the Nazis. The Italians called it a Roman salute, though researchers say there is no evidence linking it to ancient Rome. Franco also instituted the gesture in 1937, then instructed Spaniards to abandon it in 1945 after the Axis powers lost World War II.
More than 72,000 Moroccan migrants crossed into Ceuta between July 30 and July 31, with at least 100 people dying in the attempt. Most have returned to Morocco, but some 5,000 remain in makeshift shelters or on the streets and beaches, inflaming tensions between migrants and local residents and heaping pressure on the left-wing government of Spanish Prime Minister Pedro Sánchez.
Núcleo Nacional has about 2,000 members, many from neo-Nazi and Francoist groups that lost their capacity to mobilize, according to the Global Network on Extremism and Technology. The group has grown rapidly and opened four regional branches since its founding in 2024. Earlier this year, it registered a political party as Noviembre Nacional.
The group pledges to defend the white race, Christianity, the Spanish nation and Europe against foreign and domestic enemies, including migrants, internal independence movements and “multicultural globalism.” Spain’s Civil Guard last year opened an investigation into Núcleo Nacional after it posted a video calling for groups to “actively defend” the streets and “jointly fight against the invasion” of immigration.
Núcleo Nacional leaders have also denied the Holocaust and suggested that Israel orchestrates migration to Europe, according to the Observatory of Antisemitism, a Spanish watchdog organization. Núcleo Nacional said in a 2024 statement, “Any Spanish patriot should not forget that it is Israel that is financing the Maghrebi invasion to which all of Europe is being subjected.”
On Núcleo Nacional’s social media channels, it has claimed that it is targeted by “the Jewish-Zionist lobby in Spain” and accused the “international Jewish-American financial elite” of “buying up Spain at bargain prices while ruining us.”
This article originally appeared on JTA.org.
The post Spanish far-right activists use Nazi-style salutes in anti-migrant protests appeared first on The Forward.
Uncategorized
US House passes bill stripping federal funds from universities that boycott Israel
(JTA) — The U.S. House of Representatives on Thursday approved a bill that would prevent federal funds from going to academic institutions that participate in commercial boycotts of Israel.
The HR 4795 bill, co-sponsored by North Carolina Republican Rep. Virginia Foxx and New Jersey Democrat Rep. Josh Gottheimer, passed in a 237 to 169 vote, with 203 Republicans, 33 Democrats and one Independent in favor. Whether Democrats will grant sufficient support to pass the legislation in the Senate remains unclear.
If the Protect Economic and Academic Freedom Act goes on to become law, it would amend the Higher Education Act of 1965 to require universities to refrain from “participating in a nonexpressive commercial boycott of Israel” in order to remain qualified for certain funds.
Expressive conduct is “symbolic speech” designed to relay a message, like picketing, marching, flag desecration and draft-card burnings. A 2022 U.S. Court of Appeals ruling deemed economic boycotts nonexpressive commercial conduct as opposed to independent expression.
In addition to forbidding boycotts, the legislation also stipulates that institutions receiving such funds would need to “certify that students are not unreasonably obstructed from participating in academic programs in Israel.”
“This bill is an important step forward in ensuring academic freedom for all students,” Gottheimer, who is Jewish, said in a statement. “I will push the Senate to take up the bill shortly so it can become law.”
Foxx, meanwhile, stressed that the act “takes a strong stand against the BDS movement on college campuses across the nation,” referring to the Boycott, Divestment and Sanctions campaign that aims to put economic pressure on Israel by barring the purchase of Israeli products and suspending trade agreements.
“This legislation has true teeth and completely severs any possible taxpayer support of these concrete campaigns of antisemitism in the form of BDS and academic boycotts of Israel,” Foxx added.
The Anti-Defamation League welcomed the bill’s passage on Thursday, deriding BDS activities as a tool used “to delegitimize Israel and demonize Jews and other students for their connection to the Jewish state.”
The Combat Antisemitism Movement, an interfaith advocacy group that aims to fight “Jew hatred,” echoed these sentiments. A Thursday statement from the coalition noted that ahead of the vote, the group had sent a letter to all U.S. House members conveying its support for the bill.
“Academic boycotts of Israel harm American students and scholars, weaken vital U.S.-Israel research collaboration, and lend the credibility of American universities to a discriminatory campaign that singles out the only Jewish state,” the letter stated.
Among the 32 Democrats to join Gottheimer in supporting the bill were many prominent Jewish lawmakers, such as Debbie Wasserman Schultz, Lois Frankel and Jared Moskowitz of Florida; Greg Landsman of Ohio; Brad Schneider of Illinois; Eugene Vindman of Virginia and Kim Schrier of Washington.
Yet not all Jewish legislators, even those who are against BDS, voted in favor of the bill. Ahead of the vote, Rep. Jerry Nadler, a Democrat from New York, vowed in a statement that he would vote against the bill and urged his colleagues to do the same.
While Nadler voiced his antipathy to BDS and acknowledged that proponents of the movement “can veer into antisemitism,” he stressed that “those who engage in BDS have a First Amendment right to do so.”
The liberal pro-Israel lobby J Street offered similar opposition, arguing that this bill would mean “infringing on constitutionally protected free speech and academic freedom.” Noting a distinction between Israel proper and the West Bank, J Street stated that “penalizing universities for expressing their opposition to activities that further annexation sets a dangerous precedent.”
Nadler, meanwhile, described the measure as both “a direct and gross violation of the First Amendment” and “the latest assault by the Trump Administration” on the nation’s academic institutions.
“No matter how much I may disagree with BDS, and find it strategically stupid and morally repugnant, I will always fight to protect Americans’ right to speech with which I disagree,” he added. “It is the only way to ensure speech I do agree with is equally protected.”
This article originally appeared on JTA.org.
The post US House passes bill stripping federal funds from universities that boycott Israel appeared first on The Forward.
