Showing posts with label r.crumb. Show all posts
Showing posts with label r.crumb. Show all posts

Thursday, August 13, 2009

Arthurmag Blog: Diggers Papers

The Arthurmag Blog has been posting scans of documents produced by & about the San Francisco Diggers, from SF's Haight-Ashbury district, dating from late 1966 through 1967. Of course, this same sort of thing went on in other cities across the US a year or two later. Back in '68 or '69 in Dallas, I was a 14/15 year old alienated kid looking for some sort of something to grab onto. On one or two occasions, I went downtown & bought some wholesale Dallas Notes underground newspapers & tried to sell them on the street & at school. I got hassled by the cops on the street & sent to see the principal at school. I was lucky to break even & the thrill quickly wore off. I experimented with some drugs & even went down to Lee Park a few times to the Sunday afternoon love-in's; but mainly I went to hear the bands & look at the hippie girls. I missed the infamous "Lee Park Bust" when confrontations & arrests occurred.

Gradually in high school, I became even more alienated & turned off by the hippies, after it seemed everyone at my school was turning into one. I just withdrew into my own world of listening to music & hanging out with a group of guys who were real outcasts at school, but bound by our love of obscure rock 'n roll bands that no one else at our school had heard of.

This is an on-going series of posts from Arthur & I will add some additions to the series on this blogposting page at a later date...


http://www.arthurmag.com/contributors/diggers/
http://www.arthurmag.com/contributors/diggers/page/2/

arthur (Homegrown Culture)

POSTED BY Jay Babcock
JUL 12, 2009
Diggers Papers No. 1: The Communication Company announces its presence/mission in Haight-Ashbury, 1967

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ‘66 through ‘67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting here are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist Chester Anderson and his protege/sidekick Claude Hayward, used the name “Communication Company,” or more commonly, “ComCo.” In this first broadsheet, probably distributed sometime in January, 1967 along the Haight on telephone polls, walls, and in windows, ComCo announces its presence, and its mission. Click on the image below to see it at full-size…



JUL 13, 2009
Diggers Papers No. 2: “The Diggers state simply…”

...Anderson and Hayward were both Diggers, and ComCo was pledged to publish anything that the Diggers gave them to print. Diggers documents were almost never signed by individual Diggers. Sometimes they are the product of a single individual; sometimes they are a collaboration; sometimes they are summaries of discussions between one of more Diggers.

This particular scan is from a copy of the broadsheet that Chester had mailed to a friend, explaining what he was up to in San Francisco, having recently moved there from New York. That’s Chester’s handwriting near the top and the right: “This I didn’t write but it explains a lot.”

This sheet was distributed in late January, 1967 along the Haight on telephone polls, walls, and in windows, like all ComCo broadsides.



JUL 14, 2009
Diggers Papers No. 3: “Storm Warning”
.
..This sheet was distributed on February 3, 1967 along the Haight on telephone polls, walls, and in windows, like all ComCo broadsides.



JUL 15, 2009
Diggers Papers No. 4: “Second Notice”

...This sheet was distributed on February 5, 1967 along the Haight on telephone polls, walls, and in windows, like all ComCo broadsides. It is a direct follow-up to “Storm Warning”, issued on February 3, 1967.



JUL 16, 2009
Diggers Papers No. 5: “The Digger Office Is Now Open”/Historical Diggers

This double-sided document was probably printed and distributed in early February, 1967. Click on the images below to see this document at full size. Sorry for the crap quality of these scans—we’re working on getting better ones.




JUL 17, 2009
Diggers Papers No. 6: “Busted”

...This sheet was probably distributed after February 6, 1967 along the Haight. It would seem to be a direct follow-up to earl;ier broadsides warning of a “festival of busts” that the cops were supposedly planning (see “Storm Warning”, “Second Notice”). Evidently some folks got busted anyway...



JUL 20, 2009
Diggers Papers No. 7: “Bring the color gold. Bring photos of personal saints and gurus and heroes of the underground. Bring food to share. Bring flowers, beads, costumes, feathers, bells, cymbals, flags.”

What we have here are two posters advertising the January 14, 1967 “Human Be-In” at Golden Gate Park, which featured a principal Digger—poet/dancer/visionary Lenore Kandel—on the stage. Following the posters is a write-up for the event by journalist/novelist/poet Chester Anderson, who was new to town and new to the Diggers. I’m not sure if this document was ever published, and it’s not a “Diggers” document per se, but it’s an evocative piece of writing about the day, and representative of how the Diggers were thinking about the free, public events they were bringing into reality.





JUL 21, 2009
Diggers Papers No. 8: “The air smells green.”

...In this January 14, 1967 broadsheet, probably distributed along the Haight on telephone polls, walls, and in windows, Anderson passes on some learned tips on good Bay Area headventure trips.



JUL 22, 2009
Diggers Papers No. 9: “DON’T DROP HALF OUT.”

...What we have here was part of a set that were distributed en masse (500 copies) along the Haight on telephone poles, walls, in windows, and so on, on January 28, 1967. Chester wrote these pages, and apparently sent copies to a friend or family member with handwritten text explaining some of the terms, and it’s one of those papers that we’re showing here.



JUL 27, 2009
The Diggers Papers No. 10: “Approximately Public Explanation/FUCKIT”/”The Diggers Gladly Accept”

...According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

The two scans below are from Chester’s collection—that’s his handwriting on the top of the first page. The authors are unknown, the pub dates are unknown: late January 1967 is our best guess.




JUL 28, 2009
The Diggers Papers No. 11: “Two-Page Racial Rap”

...“Two-Page Racial Rap” is by Chester Anderson, dated February 9, 1967. Contents are self-explanatory.




JUL 29, 2009
The Diggers Papers No. 12: “Bring trucks (flatbed) with 5kw generators”

...Here’s a copy of one broadside published by Com/Co in early February, 1967. This is from Chester’s collection, but as he notes in handwriting at the top of the page, he did not author it. This was one of at least three sheets circulating during the time that encouraged SF heads to head to L.A. for the weekend.



AUG 3, 2009
The Diggers Papers No. 13: “Buena Vista Park is Middle Earth” (a poem by Chester Anderson for John Fahey)

...Here’s a scan of a broadside published and distributed by Com/Co on February 8, 1967. Note: Chester was gay, perhaps bisexual, from what I’ve been told by people who knew him.



AUG 4, 2009
The Diggers Papers No. 14: THE INVISIBLE CIRCUS (Feb 24, 1967)

...Here are two posterish images—the black and white one is an early poster by Victor Moscoso—plus two flyers to do with the Invisible Circus, a “community” that was supposed to last for 72 hours at the Glide Memorial Church one weekend in late February, 1967. More on what happened at the Invisible Circus in our next installment of The Diggers Papers…






AUG 6, 2009
The Diggers Papers No. 15: “It’s your freedom baby.

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ‘66 through ‘67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader. (ESPECIALLY this one!)...




AUG 10, 2009
The Diggers Papers No. 16: “Suckers buy what lovers get for free”




AUG 13, 2009
The Diggers Papers No. 18: BEDROCK ONE event flyer/poster by R. Crumb (late Feb ‘67)

...This particular Com/Co document is a flyer/poster/broadside by a pre-fame Robert Crumb advertising BEDROCK ONE, a March 5, 1967 event organized by Anderson himself. Check out that lineup, a real who’s who of the contemporary Haight-Ashbury arts/life scene: the Steve Miller Band, the Orkustra (the band led by guitarist Bobby Beausoleil, who would later be associated with both Kenneth Anger and Charles Manson), poet Richard Brautigan, the infamous street agitators San Francisco Mime Troupe, the San Francisco League for Sexual Freedom, the Lysergic Power & Light Company, and more.



AUG 14, 2009
The Diggers Papers No. 19: another BEDROCK ONE event flyer/poster

...This particular Com/Co document is a flyer/poster/broadside by an unknown artist advertising BEDROCK ONE, a March 5, 1967 event organized by Anderson himself...

Friday, June 5, 2009

Underground Classics - The Transformation of Comics into Comix

(FROM BOINGBOING)
http://www.boingboing.net/2009/06/05/underground-classics.html

Underground Classics - The Transformation of Comics into Comix
POSTED BY MARK FRAUENFELDER, JUNE 5, 2009 4:10 PM


I get about three or four review books in the mail every day. Very few interest me, but once in a great while I get a gem of a book, and Underground Classics - The Transformation of Comics into Comix is one of them.

There have been a few histories of underground comics as of late, but this is the first one to really focus on the artwork of underground comics, as opposed to their cultural significance, which most histories cover. That's not to say the book doesn't look at the era in which these comics were made -- it does, but it's first an foremost an art book.

Most of the pages are devoted to high quality scans of original art by all the usual suspects -- R. Crumb, Rand Holmes, Vaughn Bode, Robert Williams, William Stout, Art Spiegelman, Gilbert Shelton, Trina Robbins, Jay Kinney, and the rest.I love seeing the zip-a-tone, blue lines, and white-out that you don't get to see in the printed comics. I have a lot of the comics this art came from, and it's a treat to see it presented with such great attention to detail. Each illustration is accompanied by enlightening commentary.

The book is edited by Denis Kitchen and James Danky, co-curators of the exhibition of underground comics at the Chazen Museum of Art, University of Wisonsin-Madison that this book is based on.

The book includes essays by Paul Buhle, Trina Robins, Jay Lynch, and Patrick Rosenkranz (who wrote a great history of underground comics called Rebel Visions).

(Also -- the Crumb illo on the cover is from Snarf #6 [1975]. The guy in the car would be very welcome at Maker Faire!)

Underground Classics - The Transformation of Comics into Comix

posted in: ART , COMICS

Tuesday, March 10, 2009

R. Crumb and Bigfoot (from CRYPTOMUNDO)


http://www.cryptomundo.com/cryptozoo-news/r-crumb-bf/
Posted by: Loren Coleman on January 26th, 2007

Mark Frauenfelder recently posted at Boing Boing about the wonderful past era of beautiful art to be found on old covers of Fate.

Mark also mentioned a recent blog by David Pescovitz about the New York Times article “Mr. and Mrs. Natural,” and the author of that article contacted Mark to say two of Fate covers done in the last decade have been illustrated by the underground comics genius R. Crumb. Actually, it was three, two of which had Bigfoot themes and one was of an alien shown near a bed.

One of those covers - specifically because of Crumb’s art - has become apparently the most popular cover in Fate history. It is the Crumb Bigfoot cover shown at the top of this blog. I feel honored that my column, “Mysterious World: Bigfoot-like Creatures Roam the Eastern U.S.” appeared in the November 2000 issue of that Fate. Thus, as such things go, my column has been vaguely associated with and said to be partially responsible for R. Crumb’s artwork. It probably was just a coincidence, but it is one of those cool cosmic overlaps that I appreciate being part of, especially since I always liked his comix, like Zap.

he other Fate R. Crumb cover was of snowy Bigfoot-types in Russia. Intriguingly, it was also used to promote a Wisconsin Bigfoot novel from Galde Press (the current owners of Fate).

R. Crumb has been interested in Bigfoot for a long time, having penned the classic “Whiteman meets Bigfoot” in Home Grown Funnies, no. 1, back in 1971.

Anyone out there have any scans of R. Crumb’s 1971 comic art of Bigfoot?

As far as the popular cultural significance of R. Crumb, all you have to do, if you were part of the 1960s, is remember his images associated with Mr. Natural, Fritz the Cat, Keep On Truckin’, and Janis Joplin’s Cheap Thrills album cover.

Perhaps someday R. Crumb will even draw a Bigfoot exclusively for Cryptomundo.

Hey, unlike the The New York Times which has decided to print the word “hippy,” I spell “hippie” the way we used to in the 60s!

THEN FROM BOINGBOING:
http://www.boingboing.net/2009/03/08/drew-friedman-paints.html

Drew Friedman paints Robert Crumb presenting Cheap Thrills album cover to Janis Joplin
POSTED BY MARK FRAUENFELDER, MARCH 8, 2009 5:19 PM

Our pal Drew Friedman painted this great moment in freak history.

This recent piece is a depiction of my old friend (and favorite artist) Robert Crumb presenting his original "Cheap Thrills" comic strip cover art to Janis Joplin, (with various members of "The Holding Company" lurking behind), backstage at the Filmore West in San Fran' in 1968. It was commissioned by the private collector who owns the original Crumb "Cheap Thrills" art, as a companion piece to hang along side it in his office. Interestingly, Crumb's original intention was for this art to run on the back cover and a portrait of Joplin to run on the front. But Joplin loved the the comic strip art so much, (she was an avid underground comics fan, especially the work of Crumb, and already at that point in her escalating career, had the power to hire her own cover artist), she decided to run it on the front. It's arguably the SECOND most famous album cover ever, after Sgt. Pepper. One amusing side note: bending no doubt to pressure, Crumb wore his hair for a time at it's longest in '68, which I try to show. Joplin was also encouraging him to "loosen up" and wear "hippie clothes and beads" but he just couldn't go that far.