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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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Trump Threatens to Hit Iran ‘Very Hard’ if More Protesters Killed as Supreme Leader Said to Be Prepared to Flee
Protesters march in downtown Tehran, Iran, Dec. 29, 2025. Photo: Screenshot
US President Donald Trump on Sunday evening warned Iran that it will get “hit very hard” if the regime kills more protesters, as anti-government demonstrations enter a second week and the Iranian Supreme Leader, Ayatollah Ali Khamenei, is reportedly preparing an escape amid rising domestic unrest.
“We’re watching [the situation] very closely. If they start killing people like they have in the past, I think they’re going to get hit very hard by the United States,” Trump told reporters aboard Air Force One.
Trump’s latest threat comes after he warned last week that Washington will intervene if Iran “violently kills peaceful protesters.”
Sparked by a shopkeepers’ strike in Tehran last week, protests have swept the country, sparked by the soaring cost of living, a worsening economic crisis, and the rial — Iran’s currency — plunging to record lows in the wake of renewed United Nations sanctions.
For more than one week, anti-regime protests have shaken Iran, with violent clashes between demonstrators and security forces escalating amid intensifying domestic crises.
On Saturday, Khamenei accused “enemies of the Islamic Republic” of stoking unrest and warned that “rioters should be put in their place,” Iranian media reported.
Iran’s judiciary chief, Gholamhossein Mohseni Ejei, also said that while citizens have a right to protest, the government will show no leniency toward “rioters.”
According to the US-based Human Rights Activists in Iran (HRAI), protests have spread to at least 78 cities, with the regime killing 20 people — including three children — arresting nearly 1,000, and detaining more than 40 minors.
Amid a deepening economic crisis worsened by a 12-day June war with Israel and the US that struck several of Iran’s nuclear sites, the regime has ramped up its crackdown on protesters and opposition figures trying to maintain stability.
Media reports indicate that anti-riot forces — including the Islamic Revolutionary Guard Corps (IRGC), the Basij militia, local police, and the army — have used violent tactics such as live fire, tear gas, and water cannons to suppress demonstrations.
In widely circulated social media videos, protesters can be heard chanting slogans such as “Death to the dictator” and “Khamenei will be toppled this year,” while also calling for Iranian President Masoud Pezeshkian to step down.
Videos sent to Iran International show security forces confronting protesting shopkeepers in central Tehran on Monday, with riot police deployed around the Grand Bazaar and tear gas used on Jomhouri Street near the Hafez underpass. pic.twitter.com/OyhQlyUJaN
— Iran International English (@IranIntl_En) December 29, 2025
Meanwhile, Khamenei reportedly has a backup plan to flee the country if his security forces fail to suppress protests or begin to desert, according to The Times.
“The ‘plan B’ is for Khamenei and his very close circle of associates and family, including his son and nominated heir apparent, Mojtaba,” an intelligence source told the British newspaper.
Khamenei would reportedly flee to Moscow, following the path of ousted Syrian President Bashar al-Assad in December 2024.
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Pro-Hamas Arson Attack Targets Home of Antisemitism Commissioner in Germany
An image of arson and vandalism near the home of Andreas Büttner, commissioner for combating antisemitism in the German state of Brandenburg. Photo: Screenshot
Investigators in Germany have started reviewing an arson attack on Sunday against the home of Andreas Büttner, commissioner for combating antisemitism in the state of Brandenburg, where assailants set fire to a shed at his property in Templin — a town located approximately 43 miles north of Berlin — and spray-painted an inverted red triangle, the symbol of support for the Islamist terrorist group Hamas.
“My thoughts are with Andreas Büttner and his family,” Israeli Ambassador to Germany Ron Prosor posted on X. “Knowing him as I do, after this attack he will only stand up even more resolutely against antisemitism. For the radical part of the ‘Palestine solidarity’ movement is not only antisemitic, but terrorist.”
Prosor explained the significance of the red triangle, writing, “Attacks on those who think differently and attempted murder: That is what the Hamas triangle stands for — in Gaza as in Brandenburg. And the hatred of Israel goes hand in hand with hatred of our democracy. The rule of law must smash these terrorist organizations — and indeed, before they strike again.”
The red triangle vandalism appeared “on the neighboring house’s door entrance,” according to Germany’s DW media.
The home of Germany’s antisemitism commissioner, Andreas Büttner, was set on fire overnight in a targeted attack.
His family was inside the house at the time.
This is the second attack against Büttner in the past 16 months. His car was previously vandalized with swastikas. This… pic.twitter.com/cAbFnMIwQ7
— Combat Antisemitism Movement (@CombatASemitism) January 5, 2026
“The symbol speaks a clear language. The red Hamas triangle is an internationally known sign of jihadist violence and antisemitic incitement,” Büttner said. “Anyone who uses such a thing wants to intimidate and glorify terror. This is not a protest, it is a threat.”
According to Büttner, his family was inside the house at the time of the arson, the second attack against him in the past 16 months. His car was previously vandalized with swastikas.
Büttner released a statement on X.
“This attack represents a massive escalation,” he wrote. “It is directed against me personally, against my family, and against my home. At the same time, it is an expression of hatred and intimidation. I will not be intimidated by this. Anyone who believes that they can achieve something through violence, arson, or threats is mistaken. Such acts do not lead to me becoming quieter or questioning my commitment — they strengthen me in what I do. I ask that you give us the necessary peace today and refrain from further inquiries at the present time.”
Brandenburg’s Prime Minister Dietmar Woidke also condemned the violence, saying that “violence against people or things is and remains absolutely unacceptable. The police have started the investigation, and I hope that the perpetrator or perpetrators will be caught quickly.”
Jochen Feilcke, chairman of the German-Israeli Society Berlin and Brandenburg, described the attack “as where Hamas’s terrorism was applied on a small scale, including the Hamas triangle, in order to ultimately intimidate all people who defend themselves against increasing antisemitism in Berlin and Brandenburg.”
“Especially the parties of the left camp have every reason to deal with it, because they tolerate this mood or still fuel it,” Feilcke told Tagesspiegel. “They are so jointly responsible for when debates turn into violence.””
The Jewish Virtual Library describes how the inverted red triangle symbol was originally used by the Nazis to designate political prisoners.
“According to Holocaust historians, this triangle was part of a dehumanizing classification system, where each prisoner was identified by different colored triangles depending on their ‘crime,’” writes Or Shaked, deputy director of the Jewish Virtual Library. “The red triangle identified political dissidents, including socialists and communists. After World War II, the survivors of Nazi persecution and their families reclaimed the red triangle as a symbol of resistance to fascism.”
Shaked explains the revival of the symbol in recent years, noting that following Hamas’s Oct. 7, 2023, massacre across southern Israel, the symbol began appearing in Hamas-produced propaganda, marking Israeli military targets. Its use spread to anti-Israel protests, particularly on college campuses and social media, where demonstrators use it to show solidarity with Palestinians.
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Orthodox Jewish Judge to Preside Over Maduro Trial in New York
US District Judge Alvin Hellerstein presides at the Manhattan Federal Court hearing over former US President Donald Trump’s push to move his criminal case to federal court, in New York City, US, June 27, 2023, in a courtroom sketch. Photo: Jane Rosenberg via Reuters Connect
The US federal judge presiding over the criminal proceedings of deposed Venezuelan dictator Nicolás Maduro is an Orthodox Jew from New York City whose 70 years as a legal professional has seen him work on a slew of major cases with historic implications, touching on matters from the 9/11 terrorist attacks to the felony convictions of Donald Trump.
Born in 1933 — a year in which Franklin D. Roosevelt assumed the US presidency, Adolf Hitler rose to power in Germany, and the British Broadcasting Corporation aired the first ever televised boxing match — the future US district judge Alvin Kenneth Hellerstein graduated from Columbia Law School in 1956, the third year of the first Eisenhower administration and the year of the Suez Crisis.
Forty-two years later, after serving as a law clerk, achieving first lieutenant rank in the US Army, and becoming partner at the Stroock & Stroock & Lavan LLP, Hellerstein was appointed to the federal bench by former US President Bill Clinton in 1998 at the height of the Monica Lewinsky scandal, a first of its kind cable media event in which Clinton was accused of carrying on a torrid extramarital affair with a White House intern.
On Monday, Hellerstein lived through another moment of major historical significance, as he arraigned Maduro on narcoterrorism charges stemming from a federal indictment which alleges that he operated a gargantuan drug trafficking operation while administering a dictatorship over Venezuela.
Maduro was transported to New York City by the US military and federal law enforcement agents following an operation to extract him from Venezuela during the early morning hours of Jan. 3. He has since been held at the Metropolitan Detention Center in Brooklyn, whose list of recent high-profile inmates include Sam Bankman-Fried, Sean “Diddy” Combs, and Ghislaine Maxwell.
“I was captured at my home in Caracas, Venezuela,” Maduro, joined by his wife and alleged co-conspirator Cilia Flores, told Hellerstein when asked to confirm his name in court on Monday. “I am a decent man. I am still president of my country.”
Hellerstein responded, “There will be a time and a place to go into all of this.” He later notified Maduro of his right to remain silent and authorized the requests of the deposed leader and his wife to receive medical attention.
Maduro’s capture was described by the Trump administration as both a law enforcement action and an application of the Roosevelt Corollary, in which the US assumes the right to secure and stabilize the Western Hemisphere by directly intervening in the domestic affairs of states within it. The policy has shown several faces since its first utterance as the Monroe Doctrine which opposed European colonialism in the hemisphere, and in accordance with it the US has staged actions in Cuba, Haiti, and Grenada.
Hellerstein’s tenure as a federal judge has been eventful. Sept. 11, 2001, victims, narcoterrorists, presidents, and the US government all have sought favorable rulings in his courtroom. In one of his more recent cases, he presided over the trial of Charlie Javice, who was convicted of defrauding JPMorgan Chase of $175 million dollars by duping the firm, one of the oldest and most important in the history of US finance, into believing that she had discovered a way to “simplify” the process for college students to apply for student financial aid. A jury convicted Javice, and Hellerstein sentenced her to 85 months in prison.
As a former president and candidate for the White House, Trump asked Hellerstein to transfer a criminal case alleging that he paid money to quell accusations of an extramarital affair from state court to federal court, a request Hellerstein repelled twice.
Hellerstein has also ruled against the second Trump administration’s attempt to deport alleged illegal migrants of Venezuelan origin under the Alien Enemies Act and detain them in El Salvador, where they would await repatriation. Hellerstein argued that the administration failed to show cause and settled on a different remedy.
“The destination, El Salvador, a country paid to take our aliens, is neither the country from which the aliens came, nor to which they wish to be removed,” Hellerstein wrote in his decision, issued in May amid of flurry of actions taken by new president. “But they are taken there, and there to remain, indefinitely, in a notoriously evil jail, unable to communicate with counsel, family, or friends.”
Follow Dion J. Pierre @DionJPierre.