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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.”
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Italian rapper Ghali’s planned Winter Olympics set draws backlash over his Gaza advocacy
(JTA) — Italian rapper Ghali’s slated performance at the opening ceremony for this year’s Winter Olympics in Milan has drawn criticism from Italian leaders over his past activism against Israel.
Ghali Amdouni, a prominent Milan-born rapper of Tunisian parents, will be joined by a host of performers including Andrea Bocelli and Mariah Carey during the opening ceremony on Feb. 6. This year, nine Israelis will compete, including the national bobsled team for the first time.
The selection of Ghali drew criticism from members of Italy’s right-wing League party.
“It is truly incredible to find a hater of Israel and the centre-right, already the protagonist of embarrassing and vulgar scenes, at the opening ceremony,” a source from the party told the Italian outlet La Presse. “Italy and the games deserve an artist, not a pro-Pal fanatic.”
In early 2024, Ghali drew criticism from Italian Jewish leaders and Israel’s former ambassador to Italy, Alon Bar, after he called to “stop genocide” during his performance at the Sanremo Italian song festival. The spat later spurred protests outside the office of the Italian public broadcaster RAI.
On X, the rapper has also criticized other artists for not using their platforms for pro-Palestinian activism and appeared to refer to the war in Gaza as a “new Holocaust.”
Ghali’s selection comes as Italy has become an epicenter of pro-Palestinian activism that has been sustained even as such activism has receded in other places. In October, over 2 million Italians took part in a one-day general strike in support of Palestinians and the Global Sumud Flotilla. The previous month, a separate general strike was organized in response to call from the country’s unions to “denounce the genocide in Gaza.”
According to a study of global antisemitism published in April by Tel Aviv University, Italy was one of two countries that saw a spike in antisemitic incidents from 2023 to 2024. A September survey from the pollster SWG found that roughly 15% of Italians believe that physical attacks on Jewish people are “entirely or fairly justifiable.”
Italian Sports Minister Andrea Abodi said he does not believe Ghali will make a political statement on stage.
“It doesn’t embarrass me at all to disagree with Ghali’s views and the messages he sent,” said Abodi, according to the Italian outlet La Repubblica. “But I believe that a country should be able to withstand the impact of an artist expressing an opinion that we don’t share. And that opinion will not, in any case, be expressed on that stage.”
Noemi Di Segni, the president of the Union of the Italian Jewish Community, told Italian media that she was hopeful Ghali would receive instructions ahead of his performance.
“It is clear that I hope Ghali has received instructions or guidelines on the ‘role’ he is expected to play. So I hope he will understand what he needs to do in that context and at that moment,” Di Segni told the Italian outlet La Milano. “I am confident that he will understand what he is called upon to do in that context and at that moment.”
The post Italian rapper Ghali’s planned Winter Olympics set draws backlash over his Gaza advocacy appeared first on The Forward.
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After Alex Pretti killing in Minneapolis, Jewish gun owners confront Second Amendment tensions
(JTA) — Roberta Tarnove was horrified last week when she learned that a man protesting ICE was shot and killed in Minneapolis. And it wasn’t just because someone was dead.
The 65-year-old Jewish resident of Los Angeles was also distressed that federal officials said the agents were justified in shooting Alex Pretti because they believed he was armed. Pretti, 37, was a licensed gun owner in a state where carrying a gun openly is legal.
“I’m very sad. He certainly had every right to carry a gun,” Tarnove said.
The situation hit home for Tarnove because she, too, owns guns and has a permit allowing her to carry concealed firearms.
“As a Jewish person whose Sunday school teachers were mostly Holocaust survivors, there was something about Donald Trump’s presidential run that just hit me hard,” she said. “The dog whistles and things just sounded alarm bells in my head, and so I think I need to get a gun, not that I can overthrow the government, but just for personal protection.”
Since getting her first gun in 2015, Tarnove has been part of a Southern California Jewish gun club, Bullets & Bagels.
There was no discussion of Pretti’s killing at a Bullets & Bagels event featuring the Los Angeles district attorney on Sunday, according to the club’s founder, Fred Kogen. He said he could not comment on the specifics of the shooting.
“What happened there was that this gentleman lost his life, that’s all I know, to be honest, and that, interestingly enough, has not been a discussion within the community of Jewish shooters that I’m a part of,” Kogen said.
Tarnove wasn’t there on Sunday. But she said she wasn’t surprised by Kogen’s report.
“The reaction from the overruling gun community — and apparently the government — is, well, if you bring a gun to protest, you’re going to get shot,” Tarnove said. “So it’s Second Amendment for me, but not for thee, which is one of the things about the gun culture I really hate.”
Pretti’s killing has spurred sharp debate over whether the Trump administration’s response to armed protesters may be at odds with Second Amendment protections traditionally cherished by conservatives.
The debate is also taking place among American Jews. While American Jews have historically opposed gun ownership, Oct. 7 and the ensuing rise in antisemitism across the country has spurred many to take up arms for the first time. Now, Jewish gun owners are confronting a tension that has emerged between their right to bear arms and the federal government’s response to armed civilians.
“My personal opinion is that he was executed,” said J.N., a 59-year-old Jewish gun owner in the Washington, D.C., suburbs who requested anonymity to protect his employment. “I’ve watched the video like everybody else, his hand never went anywhere near his gun. It was handled horrifically.”
On the other hand, Bruce Cohen, a lifelong Jewish gun owner in Arizona who hosts the Facebook group Jews for the Preservation of Firearms Ownership, said he believed Pretti was “looking for trouble.”
“I don’t know if I can fault the law enforcement officer,” Cohen said. “As a libertarian, I want very, very strict limits on police powers, I do not want police to abuse or mistreat or mislead citizens or non-citizens, for that matter, but I can see how that could happen, and if that person was more careful and more friendly and exercised his freedom of speech and right to protest in a more appropriate manner then he could be protesting today.”
In the wake of Pretti’s killing, several Trump administration officials said his gun possession instigated the shooting. Homeland Security Secretary Kristi Noem claimed Pretti “attacked” officers and was “brandishing” a gun, though a preliminary report completed on Tuesday by Customs and Border Protection found he did not brandish a weapon during the encounter.
On Tuesday, President Donald Trump himself said, “You can’t have guns. You can’t walk in with guns,” in response to a question about the killing from PBS.
“My assessment is the government is lying,” said J.N. “I don’t know why he carried it, but he’s entitled to carry it, he had a concealed carry permit. The Second Amendment says that you’re allowed to carry a gun, so I can’t fathom why the government, supposedly a Republican government, would say that.”
In a post on X, the National Rifle Association took aim at the rhetoric from the federal government, writing, “Responsible public voices should be awaiting a full investigation, not making generalizations and demonizing law-abiding citizens.”
A national Jewish gun club, Lox & Loaded, echoed that sentiment.
“Lox & Loaded stands firmly behind the absolute right to bear and conceal arms in any lawful setting,” said COO Gayle Pearlstein. “The pending investigation and resulting determination of the incident involving Mr. Pretti and federal law enforcement should in no way interfere with or call into question this longstanding personal right.”
Jordan Levine, the Jewish founder of the online gun advocacy group A Better Way 2A, said he believed the shooting of Pretti “sets a precedent, because it calls into question if somebody can be murdered for simply carrying a gun.”
But Levine stipulated that he was not concerned “as of right now” about losing Second Amendment rights.
“The Trump administration, thankfully, is still a bit removed from our court systems, and we’ve seen time and time again the court’s ruling in favor of Second Amendment liberties,” Levine continued.
Cohen said he would have handled the situation differently in Pretti’s shoes.
“If I was in his situation with his motivations, I would have introduced myself to the cops. I would have shaken hands with the cops, I would have said, hey, I disagree with what you’re doing, but thank you for being professional,” said Cohen.
But others within the JPFO Facebook group were quick to decry the federal government’s rhetoric.
“I’m not going to shut up and wait when agents of an authoritarian government are violating the rights of and killing citizens,” wrote one JPFO member. “The Declaration of Independence gives us the right to fight tyranny.”
J.N., who is also a member of the JPFO group, said, “As a Jewish person, and as an American, it sickens me.”
In the wake of Pretti’s killing, many critics have likened ICE’s tactics in Minneapolis to the Gestapo in Nazi Germany. While both Trump administration officials and some Jewish voices have called such comparisons inappropriate, for J.N., the similarities rang true.
“I’m not going to call them Nazis, because nobody’s being sent to the showers and burned en masse, OK, I get the difference, but I can tell you that I feel like they are using Gestapo techniques,” J.N. said.
Cohen said the comparison was a “standard left-wing package.”
“They train people to say that stuff, and it’s hypocritical and insincere because they don’t actually believe what they’re saying,” said Cohen. “I don’t see that at all, because we’re not, you know, the Jews in Germany. We’re not illegal aliens, we’re not on welfare, we’re not doing criminal things, we’re not stealing financially.”
For Tarnove, the federal government’s rhetoric around Pretti’s gun ownership had raised alarm bells for potential restrictions against gun ownership for certain groups.
“We aren’t past the point of no return, but we are getting so darn close, and I wish that more Jews would recognize that,” said Tarnove. “When the government can go after one group of people, then they can go after any group of people, and you’re not safe.”
The post After Alex Pretti killing in Minneapolis, Jewish gun owners confront Second Amendment tensions appeared first on The Forward.
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IDF official says 71,000 killed in Gaza war, matching Gaza Health Ministry estimate
(JTA) — A senior Israel Defense Forces official told Israeli media outlets on Thursday that the military estimates a death toll in Gaza of approximately 71,000 — the same number that the Hamas-run Gaza Health Ministry announced this week.
In the past, Israeli officials have sometimes disputed Gaza Health Ministry data, accusing the ministry of inflating death tolls. Though Israeli officials have not officially disputed the overall Gaza war figures for some time, they frequently contested the toll in specific incidents, and some pro-Israel advocates have continued to challenge estimates of the death toll in Gaza as Hamas propaganda.
Now, the senior official’s disclosure underscores that there is no gap in the total number of deaths estimated by both parties to the two-year war in Gaza.
The official reportedly said the IDF was still working to determine the breakdown between combatants and civilians in the total, as well as of how many died directly from military action. The Gaza Health Ministry’s toll does not distinguish between militants and civilians.
The official’s remarks on Thursday were briefed to Israeli outlets on condition of anonymity. By Thursday evening, an IDF official told the Jewish Telegraphic Agency that the reports did not reflect an official disclosure by the army.
“The IDF clarifies that the details published do not reflect official IDF data,” the IDF official said. “Any publication or report on this matter will be released through official and orderly channels.”
Israel has not published its own data on the death toll in Gaza to refute the ministry’s, but has maintained that it has killed roughly two to three civilians for every militant.
The Gaza Health Ministry says 71,667 Gazans died between Oct. 7, 2023, when Hamas attacked Israel from the enclave, and today, including over 450 killed since the U.S.-brokered ceasefire went into effect in October. It also claims that at least 440 Palestinians have died of malnutrition and starvation, a figure that Israel denies.
Human rights NGOs and the United Nations have long said the ministry’s data is reliable. Some estimates by pro-Palestinian sources have suggested an even higher toll.
About 2 million Palestinians lived in Gaza at the outset of the war. The 71,000 figure means that about 3% of Gaza’s population was killed during the war.
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