Left to right: Steven Kohn, (on floor:) Heather, R. Crumb, Ray Schultz, (sitting behind:) Hetty Maclise, John Heys, Coca Crystal, Allen Katzman, David Walley, Little Arthur, (standing:) Joel Fabrikant, Jaakov KohnThe end of my real involvement with The East Village Other came as something I perceived as a betrayal. I have come to think I really didn’t understand it at the time and perhaps what happened wasn’t directed at me personally. But sometimes I wonder.
I mentioned in my earlier piece that EVO was formed as a stock company, with Walter Bowart, Allen Katzman and I each owning three shares.
“We need to raise more money,” Walter said to me in the spring of 1966. “We’ve run out. I’ve called a meeting and there will be new people coming. We need to get more people buying stock.”
“It won’t dilute my one third, will it?” I asked.
“It doesn’t have to,” he said, “if you buy some more, too.” And this was technically true.
The meeting took place in our office on Avenue A on a Tuesday evening at 8 p.m. John Wilcock was there, a prized defector to The Other from the Village Voice, our designated competitor. I loved that idea. There were four new people in the room, none of whom was familiar to me, except for John.
“Okay, we’re here to buy stock,” Walter said. “Who’d like to go first?” Read more…
Mar. 3, 1969 cover by Kim DeitchHe was a roughneck. He certainly wasn’t politically correct and his blunt management style definitely took getting used to. In fact I really didn’t know what to make of him at first. But during the time I worked at The East Village Other, I received any number of sanctimonious promises from the people I worked with that didn’t seem to amount to much. Joel Fabrikant was no sanctimonious hippie or any other kind of hippie, but he always kept his word.
I was actually drawing comics for EVO, as it was called by most of us, before Joel got there. The first time I showed up at the storefront office on Avenue A was at the start of 1967. Allen Katzman, EVO’s nominal editor, looked at the art samples I brought. He told me they were interesting, but that EVO was looking for work that was more, “psychedelic.” Psychedelic was a buzzword of the moment. Put simply it meant, “trippy,” or drug-influenced.
I didn’t have to go far to pipe directly into that. Before I even left the office, Allen Katzman introduced me to Bill Beckman, the art editor. I knew who Bill Beckman was. In fact he was one of my initial inspirations for showing up at EVO.
Back in Westchester, where I had been employed as a child care worker, perhaps nine months prior to this, I showed a co-worker some of the artwork I’d been doing in my spare time. A curious thing about this artwork was that at a certain point, it had started morphing into primitive comic strips. Read more…
The Local East Village continues its celebration of the pioneering alternative newspaper of the late 1960s and early 70s, The East Village Other. This weekend, further to last week’s piece by artist Trina Robbins, we’re keeping our attention on the paper’s trailblazing illustrations, starting with an essay from Patrick Rosenkranz, the author of “Rebel Visions: The Underground Comix Revolution 1963-1975.”
Cover of the first Gothic Blimp Works issue, by Robert CrumbI never worked for The East Village Other but I was a captivated reader from the first time I picked up an issue in 1966. As an 18-year-old naïve Catholic scholarship student at Columbia University, I was ripe for the revolution. My roommate introduced me to smoking dope that winter and my enhanced appetite often drew me to the student cafeteria, where I couldn’t help but be attracted to the radical contingent from Students for a Democratic Society sitting around their regular table. They looked to my eyes like bomb-throwing anarchists who were having wild sex every night. They often left behind copies of The East Village Other, which I picked up. It was love at first sight.
I’d never seen a publication like this before. It was full of wild accusations and bawdy language and doctored photographs. It had President Johnson’s head in a toilet bowl. It had naked Slum Goddesses, truly bizarre personal ads, and a whole different slant on the anti-war movement than my hometown paper upstate. But best of all, it had the most outrageous comic strips. The continuing saga of Captain High; the psychedelic adventures of Sunshine Girl and Zoroaster the Mad Mouse; Trashman offing the pigs and scoring babes left and right. While I enjoyed many aspects of EVO, I liked the comics the most. Read more…
Coca Crystal (born Jackie Diamond) was EVO’s self-described “gatekeeper,” receptionist, sometime reporter and sometime model until the bitter end, when, as staff and resources dwindled, she became its defacto publisher (she financed the final two issues out of her own purse). Here, she describes how she got her start.
The first time I set foot in the EVO office, it was in the fall of 1969 and I had come to visit with a college friend, Barbara, who was EVO’s secretary.
The office was located on the third floor of the Fillmore East building on Second Avenue and Sixth Street. The place was a wreck. It was freezing, the garbage cans were overflowing, cigarette butts were everywhere, and the walls were covered in fabulous cartoons by the best in underground comix: R. Crumb, Kim Deitch, Spain Rodriguez, Yossarian, Shelton, Art Spiegelman, just to name a few. It was chaos, but a kind of cool chaos.
The office was in a frenzy to get copy ready for the typesetter, and I was asked if I could type. I said I could and was given the job of typing up the classifieds. I had never seen such weird ads. (“Dominant Iguana seeks submissive zebra,” sex ads, odd employment opportunities, legal advice for pot busts). I had to type while sitting on Allen Katzman’s lap (his idea), wearing my winter coat and gloves. When I had completed the classifieds I was told the other secretary, Marcia, was leaving and I could have her job if I wanted it. The pay was $35 a week. I took the job. Read more…
