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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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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.
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California man pleads guilty in 2023 death of pro-Israel protester
The man accused in the 2023 death of a pro-Israel protester will avoid a prison sentence after pleading guilty this week to all charges against him.
Loay Alnaji, 53, was at a pro-Palestinian protest in Ventura, California, in November 2023 when he allegedly struck a pro-Israel counterprotester named Paul Kessler with a megaphone. Kessler, who was 69, then fell, hitting his head on the pavement. He died several hours later, with the death ruled a homicide by blunt-force trauma.
Trial proceedings had been set to begin next week, with Alnaji facing up to four years in prison. But Ventura County Superior Court judge Derek Malan offered Loay Alnaji, 53, a deal on Tuesday that allowed Alnaji up to one year in jail followed by three years on probation.
Alnaji accepted the offer. His attorney, Ron Bamieh, told the Ventura County Star that Malan had determined “two old guys had a dispute and an accident happened.”
Alnaji pleaded guilty to the two counts against him — felony involuntary manslaughter and felony battery causing serious bodily injury — and admitted aggravating factors, namely that he used a weapon and that the victim was particularly vulnerable.
He will be sentenced June 25.
The plea deal was too lenient in the eyes of Kessler’s family — which wanted the maximum sentence, according to the Star — as well as Ventura County District Attorney Erik Nasarenko.
“Alnaji should be sentenced to prison for his violent behavior, and our office strongly objects to any lesser sentence,” Nasarenko said in a statement. “While no amount of punishment will ever fully account for the Kessler family loss, a prison commitment underscores the severity of this crime and will deter others from committing similar acts of violence.”
The Kessler family could not be reached for comment.
The guilty plea brings a tragic saga that began in the early days of the Israel-Hamas war closer to an end. Kessler and Alnaji were among 75 to 100 people who descended upon a busy intersection in Thousand Oaks — about 25 miles north of Los Angeles — for dueling protests related to the Israel-Hamas war.
What happened during the altercation remains unclear. Bamieh said Kessler put his phone in Alnaji’s face; when Alnaji swatted the phone away, the megaphone inadvertently hit Kessler’s face. (He also said Kessler had previously been diagnosed with a brain tumor, though the coroner has stated the tumor was not a factor in his death.) After Kessler’s fall, he was bleeding from the head and mouth, but was responsive at the scene and evacuated to a hospital. His condition worsened overnight and he died there early the next day.
Alnaji, who at the time was a computer science professor at Moorpark College, was placed on administrative leave by the school after his arrest and subsequent release on $50,000 bail.
Rabbi Noah Farkas, chief executive of the Jewish Federation of Greater Los Angeles, welcomed the guilty plea for what he called a “heinous crime.”
“While we would have liked a harsher sentence that better reflects the pain of the Kessler family, we respect the legal process,” Farkas said in a statement. “Our hope is that today’s news helps bring closure to his family and gives our community the ability to demonstrate safely.”
The post California man pleads guilty in 2023 death of pro-Israel protester appeared first on The Forward.
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After Beirut Strike, Netanyahu Says ‘No Immunity’ for Terrorists
Rescuers work at the site of an Israeli strike that took place yesterday, in the southern suburbs of Beirut, Lebanon, May 7, 2026. Photo: REUTERS/Mohamad Azakir
Prime Minister Benjamin Netanyahu said on Thursday there was no “immunity” for Israel’s enemies, a day after the Israeli military targeted a Hezbollah commander in its first strike on Beirut‘s southern suburbs since a ceasefire declared last month.
Israel said the attack killed the commander of the Iran-backed terrorist group’s elite Radwan force.
Hezbollah, which controls Beirut‘s southern suburbs, has yet to issue any statement on the strike or the commander’s status.
“He likely read in the press that he had immunity in Beirut. Well, he read it and it is no longer the case,” Netanyahu said in a statement.
Hostilities between Israel and Hezbollah reignited on March 2 when the Islamist group opened fire at Israel after Tehran came under US-Israeli attack.
Wednesday’s strike raises pressure on the Lebanon ceasefire that emerged in parallel to a truce in the wider Middle East war, with a halt to Israeli strikes in Lebanon being a key Iranian demand in Tehran’s negotiations with Washington.
Announced on April 16 by US President Donald Trump, the Lebanon ceasefire has led to a reduction in hostilities: the Beirut area was not struck by Israel for weeks before Wednesday’s attack.
But the sides have continued to trade blows in the south, where Israel has carved out a self-declared security zone.
Netanyahu said the Hezbollah commander, identified as Ahmed Ali Balout by the Israeli military, “thought he could continue to direct attacks against our forces and our communities from his secret terrorist headquarters in Beirut.”
“I say to our enemies in the clearest possible way: No terrorist has immunity,” he said.
LEBANESE PM: TOO EARLY FOR ‘HIGH-LEVEL’ MEETING
More than 2,700 people have been killed in the war in Lebanon since March 2, Lebanon’s Health Ministry says. Some 1.2 million people have been driven from their homes in Lebanon, many of them fleeing from southern Lebanon. According to Israeli officials, the majority of those killed have been Hezbollah terrorists.
Israel has announced 17 soldiers have been killed in southern Lebanon, along with two civilians in northern Israel.
At least 11 people were killed in Israeli strikes in three different areas of south Lebanon on Wednesday, according to a tally of Lebanese health ministry announcements.
Hezbollah said it carried out 17 operations against Israeli forces in southern Lebanon on Wednesday, while the Israeli military said it had struck more than 15 militant infrastructure sites in the south the same day.
The Israeli military says Hezbollah has fired hundreds of rockets and drones at Israel since March 2.
Hezbollah says it has the right to resist Israeli forces occupying the south.
Israel’s control zone extends as deep as 10 km (6 miles) into southern Lebanon. Israel says it aims to protect northern Israel from Hezbollah terrorists embedded in civilian areas.
The Lebanon ceasefire was announced for an initial 10 days and then extended for an additional three weeks during a meeting between the Lebanese and Israeli ambassadors to Washington, hosted by Trump at the Oval Office.
Hezbollah strongly objects to the Lebanese government’s contacts with Israel, which reflect deep differences between the group and its critics in Lebanon.
Trump said last month he looked forward to hosting Netanyahu and Lebanese President Joseph Aoun in the near future, and that he saw “a great chance” the countries would reach a peace deal this year.
But on Wednesday, Lebanese Prime Minister Nawaf Salam said that it was premature to talk of any high-level meeting between Lebanon and Israel, and said that shoring up a ceasefire would be the basis for any new negotiations between Lebanese and Israeli government envoys in Washington.
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A View From My Campus: Sacrificing Science and Innovation for Political Symbolism
Illustrative: A BDS demonstration outside the School of Oriental and African Studies in London. Photo: Wikimedia Commons.
In 2021, then-president of Rutgers, Jonathan Holloway, traveled to Tel Aviv to sign a partnership with Tel Aviv University (TAU) for future research at a cutting-edge facility being constructed in New Brunswick, The HELIX, which stands for The Health and Life Science Exchange.
This project includes collaborations with Robert Wood Johnson Hospital, Nokia Bell Labs, the NJ Economic Development Authority (NJEDA), Devco, and the American Technological University, all aimed at advancing innovation across industries.
The $665 million project offers “premier workspaces & laboratories for both startups and established companies operating across the gamut of healthcare, biotech, pharma, and, most broadly, the life sciences.” According to the NJEDA’s calculations, the cross-cultural development will bring an economic benefit of $340.4 million to the state.
But amongst Rutgers’ anti-Israel student groups, and Boycott, Divestment, and Sanctions (BDS) activists, there have been calls to terminate the partnership between Rutgers and Tel Aviv University, one of the leading research universities in the Middle East. This opposition came long before Oct. 7, 2023, and the war that followed.
According to these groups at Rutgers, the partnership with “Israeli universities play[s] a key role in supporting Israel’s system of apartheid rule,” and they call for “nothing less than complete divestment from these egregious investments, which drown our endowment fund and university facilities in blood.”
Note that they don’t actually care if this program or TAU connects in any way to the Israeli military or government; treating any Israeli, regardless of affiliation, like a human is apparently beyond the pale.
Notably, TAU was the first university in Israel to establish a Commission for Equity, Diversity, and Community, and has increased the representation of Arab students on campus to close to their proportion in the general population, a feat that is only possible in a place like Israel. It’s also important to note that, like many other universities in Israel, TAU leadership has gone out of its way to advocate for Palestinians.
Yet, somehow in the distorted truth of the BDS movement, TAU is complicit in “genocide.” Morally focused political movements on campus have historically claimed to fight for justice and against discrimination, exemplifying the higher education ideals of open-mindedness and critical thinking. And yet, these groups want to terminate partnerships for research, for innovation, for healthcare-based initiatives, for job and economic growth, and for expanding the academic frontier.
The Endowment Justice Collective, a Rutgers anti-Israel group, sent a letter to the administration claiming, “[a]ny collaboration which serves to bolster TAU’s reputation, provide it with a public platform, or materially support its operations shores up the legitimacy of an institution which aids and abets Israel’s oppression and genocide of Palestinians.”
But what will ending this huge project achieve, apart from a symbolic show of solidarity to a global movement whose priorities seem to obsessively focus on attacking Jews at Palestinians’ expense?
By taking intellectual pursuits such as the HELIX and dismissing them as politically motivated human endeavors, they become the very thing they seek to speak out against. TAU has the Neubauer Fellowship, an initiative specifically for Palestinian PhD students and faculty in STEM fields to provide high-level lab access and funding to elevate Palestinian representation in advanced research. When calls to cut ties like these set a precedent, they put such fellowships at risk as well. Rather than advancing equity, these efforts can ultimately backfire, restricting opportunities for Palestinian researchers and weakening the academic partnerships that make such programs possible.
Academic research and partnerships remain among higher education’s greatest strengths. They drive medical breakthroughs, technological innovation, and cross-cultural understanding. When groups like SJP demand the severance of ties with institutions like Tel Aviv University, they don’t just protest a government, but wall off the very pathways of discovery that benefit all of humanity. On our part, we must reject the close-mindedness of movements that prioritize ideological purity over global progress.
The author is a CAMERA Fellow at Rutgers University. Opinions expressed are those of the author and do not necessarily reflect those of CAMERA.