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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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Meet Matt Turner, the only Jewish player on Team USA in the World Cup
(JTA) — When the U.S. squad suits up Friday night to face off against Paraguay in its opening contest in the 2026 World Cup, one Jewish player will be in the mix.
Goalkeeper Matt Turner is not only the lone Jew on the U.S. team but he could well be the only Jewish player in the entire tournament, which is being jointly hosted by the United States, Mexico and Canada starting on Thursday. It’s the first edition of the tournament to be hosted by three countries, and the first to feature 48 teams.
Israel did not qualify for the World Cup and hasn’t since 1970 — due, in part, to geopolitics that pushed its soccer federation to compete in the talented European body, not in Asia.
Jewish players DeAndre Yedlin and Daniel Edelman, who both play in the MLS and have previously played for the national team, are not on the roster this summer. Yedlin played with Turner in the ‘22 tournament in Qatar, where Turner, 31, was a star.
Turner, a New Jersey native, discovered his Jewish heritage by finding his paternal great-grandmother’s emigration papers that had allowed her to flee Lithuania during the Holocaust.
“Once I found the documents, I was certainly very, very excited,” Turner told the Jewish Telegraphic Agency in 2023. “America, in general, it’s a melting pot, and everybody has those roots elsewhere. So to understand your story, your history, a little bit is really nice.”
The revelation allowed him to obtain a Lithuanian passport, which made it easier for the goalie to pursue soccer opportunities in Europe. It also changed his relationship to his Jewish identity.
“The more my father and I dug, the more we learned, the more connected I felt to my Jewish side, the Jewish culture of my family,” Turner said at the time. “It really changed a lot of me.”
Turner, who now plays for the New England Revolution in MLS, started all four matches in 2022 for an American club that advanced to the Round of 16. He was the first American goalie with back-to-back shutouts in a World Cup since 1930.
Turner has 53 career appearances with the national team, with a 29-16-8 overall record, including 27 matches in which the opposing team did not score at all. He has also played in the Premier League and was the 2021 MLS Goalkeeper of the Year.
This time around, he is seen as less likely to start, following the ascent of a teammate to the top goalie slot. Still, he says he is moved to be part of the national team once more.
“I’ll probably cry when the national anthem goes,” he told FOX Sports. “It’s just such a huge honor — overwhelming honor — to be granted that responsibility to be on this team to do our best in those roles and ultimately, change soccer here forever.”
Although there are few Jews on the field during the 39-day tournament that ends July 19, one familiar Jewish face — or more accurately, voice — will return this year. Legendary Argentine broadcaster Andres Cantor, whose famous “Goooooooal” calls have helped popularize the sport in the United States, will be calling his 12th consecutive World Cup.
Cantor was born in Buenos Aires to a Romania-born mother and a father whose family fled the Nazis in Poland. He moved to the United States as a teenager and has publicly embraced his Jewish identity.
The post Meet Matt Turner, the only Jewish player on Team USA in the World Cup appeared first on The Forward.
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Their nickname is the Red Crosses, but these World Cup challengers practice at a Jewish day school
For years, San Diego Jewish Academy had been preparing for the World Cup. The school, serving students from pre-K through 12th grade, has one of the best soccer fields in California, and tournament organizer FIFA had approved the site to serve as a national team’s base camp — if any visiting countries were interested.
When the school looked at the World Cup’s qualifying nations, they wondered if their plans might be for naught.
“You have Qatar, Egypt, Jordan, Iran — teams that wouldn’t necessarily choose the Jewish Academy,” said Adam Benmoise, SDJA’s director of auxiliary programs. “We were nervous.”
To their relief, the World Cup schedule delivered a stroke of luck. The four teams playing group-stage games on the West Coast did include Qatar. But one the others was a country famous for its neutrality. Switzerland began practicing at the Jewish day school June 2.
Both sides have found the arrangement a winning one. For Switzerland, San Diego Jewish Academy is more than just a practice field. It’s also a gym, a media center and an office space. (Or a synagogue, if they needed one.) And for SDJA, a pluralist school with about 500 students, the rental arrangement doesn’t just pay the bills: it also connects the local Jewish community to the world’s biggest sporting event.
The partnership is the culmination of four years of planning for Benmoise, a lifelong soccer fan whose job is to drum up outside revenue for the school. Recognizing the unusual quality of the SDJA field — real grass, not turf — he pitched the school’s CFO and athletic director on the idea of renting it out to pro teams with an eye on the 2026 World Cup.
His first move was to bring San Diego tourism officials for a site visit. They were shocked — and word got around about the 56-acre hillside campus.
“It’s a true gem,” Benmoise said. “It’s built properly, it’s manicured properly, it’s mowed properly, we have the proper irrigation. It has all of the footprints of a professional-grade soccer field, but was built for a school.”
The field was used for practices during the Gold Cup, a biennial international soccer tournament, then by Major League Soccer and touring European clubs, and finally by the U.S. men’s and women’s national teams — whose rave reviews of the campus put San Diego Jewish Academy on FIFA’s radar.
To be added to FIFA’s official site catalogue for the World Cup, though, the vetting was more rigorous. The international soccer governing body has strict pitch standards, and it employs a phalanx of inspectors and groundskeeping experts to ensure fields are up to par and consistent with one another. Benmoise also had to prove that SDJA’s facilities could accommodate the wide-ranging needs of a national team program.
In response, the school expanded the playing area by covering an unused softball diamond with 16,000 square feet of sod — a project funded by school donors. (SDJA hasn’t fielded a softball team for over a decade, Benmoise said.) The school also rented and installed a 4,500 square foot tent with tile flooring to set up a gym alongside the pitch — a temporary construction that will be paid for by the Swiss. Benmoise is hopeful the school will get to keep the workout equipment.
Sergio Affuso, a press officer for the team, said in an email that Switzerland was “very happy” with the base camp. “It is great to see how enthusiastic everyone is about hosting us here, included the kids of the school, and the facilities are very well prepared,” Affuso said.
Per FIFA rules, each of the 48 countries playing in the World Cup has to host a public community day at their base camp to locals during one of its first five days of practice. But because school was still in session those days, FIFA allowed SDJA to invite only the internal school community to the event.
That day — June 3 — the SDJA student body, faculty and a few dozen parents filled the bleachers to watch the “Red Crosses” practice. Then the team set up some mini games to play with the kids — shooting on the goalies, passing and dribbling drills, and the crowd-pleaser known as “three Swiss players against 45 fourth graders.”
A pair of journalism-interested SDJA students are getting another special perk: the Swiss federation hired them as media interns for the duration of their stay in San Diego.
Benmoise didn’t want to share how much FIFA is paying to use the field, but said the compensation is “very generous.”
“Let’s just say we’re not charging FIFA the same that I would charge, like, a youth team,” he said.
SDJA isn’t the only Jewish school whose facilities rate professional use. A pair of Orthodox high schools in Los Angeles rent their basketball gyms to NBA players for off-season workouts. The all-star roster that uses those courts appreciate not only their quality, but also the schools’ privacy and security.
Benmoise said the Swiss team — which kicks off against Qatar on Saturday in San Francisco — was thus far too focused on game prep to explore the rest of the campus. But a social media post from the team’s Instagram account about their practice field did cause a stir back home.
The post was an overhead map of the practice facility, showing the dressing area, the play area, the goalkeeper area and — on the next slide of the carousel — the hills beyond the field, labeled “snake area.”
“Watch out for the snakes 🐍 👀,” the caption read.
An alarmed Swiss media published a number of stories about the threat of serpentine pitch invasions, forcing Affuso clarify that the post was an attempt at humor.
“People in Switzerland understood the joke,” he told The Athletic. “But maybe, abroad, they didn’t.” (Benmoise said snakes had “never been an issue” on the campus.)
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Mamdani was set to meet Colombian president known for inflammatory Israel rhetoric
New York City Mayor Zohran Mamdani had planned to meet this week with Colombian President Gustavo Petro — who has compared Israel’s leaders to Nazis and recently defended his use of the phrase “Heil Hitler” on social media — during the South American leader’s visit to New York, a source familiar with the mayor’s schedule plans confirmed.
The meeting — set to be Mamdani’s first with a foreign leader — was reportedly canceled after the Trump administration intervened, directing Colombian officials to call it off, arguing that it would violate the terms of Petro’s entry into the United States for a United Nations Security Council session on Wednesday.
The State Department revoked Petro’s visa last fall after he appeared at a pro-Palestinian rally in Manhattan, calling on U.S. soldiers to disobey presidential orders over its support for Israel’s war in Gaza and urging an armed response to counter Israel’s action against the Palestinians. Petro was granted a limited waiver this week to attend the U.N. meeting on the Middle East.
A former member of Colombia’s M-19 guerrilla movement and elected in 2022 as the country’s first socialist president in decades, Petro has repeatedly drawn condemnation from Jewish and Israeli leaders since the Oct. 7, 2023, Hamas attacks for comparing Israel’s military actions to those of Nazi Germany. In 2024, he severed diplomatic ties with Israel, accusing the Jewish state of committing genocide in Gaza, an allegation Israel has strongly rejected.
This week, Petro came under fire after posting the phrase “Heil Hitler” on X in response to an op-ed supporting the right-wing presidential candidate, Abelardo de la Espriella, ahead of Colombia’s June 21 presidential runoff. Petro defended the post, saying he was criticizing what he described as the author’s “fascist” rhetoric rather than endorsing the Nazi slogan itself. In his UN remarks, Petro again compared Israel to the Nazis.
A City Hall spokesperson declined to comment on the matter.
The mayor’s canceled sit-down with Petro is the latest flashpoint in his fraught alliances with inflammatory critics of Israel.
Mamdani has faced scrutiny from Jewish leaders and Zionist organizations over his sharp criticism of Israel and embrace of Palestinian activism that is shaping his tenure as leader of the city with the largest population of Jews outside Israel. During his mayoral campaign, Mamdani refused to recognize Israel as a Jewish state and said he wouldn’t travel to the country and called for divestments in Israel’s economy. Recently, the mayor skipped the annual Israel Day parade.
In congressional races in New York City, Mamdani has actively been campaigning for candidates who have made inflammatory statements on Israel, including challenging U.S. military aid to the country and accusing the Jewish state of genocide. In particular, Mamdani has thrown his support behind former Columbia University Gaza War encampment activist Daraliza Avila Chevalier, who is challenging Rep. Adriano Espaillat with the incumbent’s support for Israel front and center. Avila Chevalier, a member of the Democratic Socialists of America’s NYC chapter, attended the Oct. 8, 2023, pro-Palestinian rally in Times Square, which was broadly condemned for celebrating the Hamas attacks on Israel. She has continued to defend her participation, saying that she showed up in anticipation of Israel’s “outsized reaction.”
Mamdani reignited tensions with many Jewish communities by posting a Nakba Day video produced by his City Hall media team commemorating the displacement of Palestinians during Israel’s founding in 1948. That was followed by what was perceived as a delayed and ultimately supportive response to pro-Palestinian protesters who descended on a heavily Jewish Brooklyn neighborhood where a synagogue was hosting a real estate sale that included West Bank properties.
The head of Mamdani’s office of international affairs, tasked with interacting with the United Nations and handling diplomatic relations, is Ana Maria Archila, the past co-chair of the Working Families Party who led campaigns critical of Israel. On his first visit to the U.N. headquarters in March, Mamdani met with Secretary-General António Guterres, whom Israeli officials have criticized for his statements about the war in Gaza, accusing him of failing to sufficiently condemn Hamas. Israel recently cut ties with Guterres and barred him from entering the country following the blacklisting of Israeli authorities in a UN report regarding sexual violence in conflict zones.
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