In 1970, The San Francisco Chronicle fired a cartoonist. Dan O’Neill had been writing and drawing his strip Odd Bodkins for the paper since 1964. As the counterculture blossomed, he began turning out more social and political commentary.

奥尼尔（O’Neill）与《纪事报》的编辑融为一体，但是当他讽刺一位真正的美国偶像 - 米老鼠时，该报纸已经看到了足够多的时间。他继续加入一群地下漫画艺术家，他们将通过笔和墨水对沃尔特·迪斯尼作品发动战争。

正如他们所说的那样，空中海盗的灵感来自所谓的“ comix”革命背后的邪恶艺术家。Reason magazine editor Brian Doherty’s new book, “Dirty Pictures: How an Underground Network of Nerds, Feminists, Misfits, Geniuses, Bikers, Potheads, Printers, Intellectuals, and Art School Rebels Revolutionized Art and Invented Comix,” tells the collective story of R. Crumb, S. Clay Wilson, Spain Rodriguez and dozens more of the ink-stained wretches who transformed the benign world of cartooning into a notorious reflection of the darker proclivities of the hippie daze.

Hard drugs, weird kinks, utter disdain for “respectable” life: The creators of Zap Comix, the anthology series that would popularize the use of the term “comix” with an X, ushered in a new art form that often played to our baser instincts. But the form would also prove wildly influential. It’s hard to imagine “The Simpsons,” “Big Mouth” or any of the shows that air during the Cartoon Network’s Adult Swim programming without the underground comix rebellion. Crumb, of course, is the granddaddy of them all, the creator of so many instantly recognizable schnooks and pervs. But the comix world has been inhabited by a long parade of notable figures, as the book’s subtitle implies.

与他人共同创立的Wimmen Comix的特里纳·罗宾斯（Trina Robbins）呼吁Crumb对异性的猖ramp。比尔·格里菲斯（Bill Griffith）创建了他长期运行的联合脱衣舞式扎基德（Zippy the Pinhead），而他仍然被确定为地下的一部分。贾斯汀·格林（Justin Green）凭借他的经典棕色遇见圣母玛利亚（The Holy Prongry Mary），帮助开幕式的个人历史风格，该风格将以哈维·佩卡（Harvey Pekar）的《美国辉煌》系列和艺术史皮格曼（Art Spiegelman）的普利策奖得主图形小说《毛斯》（Maus）而到达其顶点。

这些艺术家从克利夫兰和纽约市，德克萨斯州以及堪萨斯州的劳伦斯和劳伦斯称赞。正如斯皮格曼（Spiegelman）曾经说的那样，“这就像要去底特律，如果您想射车。”

Ron Turner’s Last Gasp Publishing gets plenty of play in the book, as does the late Gary Arlington’s Mission District shop, the San Francisco Comic Book Co. As Doherty notes, upward of 4,000 people attended a comics convention in Berkeley in 1973, which featured an appearance by Harvey Kurtzman, the Mad magazine originator whose sardonic worldview exposed the facade of the American middle class, “that the steak was always presented firm and red side up, the weird brown gristle hidden.”

您可能必须是一个真正的神话般的毛茸茸的怪胎兄弟，才能浏览Doherty书的每一页。写作可能很笨拙，并且有 - 得到这个 - 没有图片，肮脏或其他方式。(One solid companion would be Dez Skinn’s 2004 book “Comix: The Underground Revolution,” which is packed with pictures; it brings the story up to successors such as Peter Bagge, Chris Ware and Daniel Clowes.) Yet given the exponential reach of this initially tiny cluster of transgressive artists, Doherty’s book is a welcome addition to an under-analyzed legacy of the free-spirited 1960s.

他没有掩盖Comix的更麻烦的方面，但Doherty显然喜欢这种形式。正如他写的那样，Bijou Funnies的编辑和出版商Jay Lynch是另一个关键的早期冠军，Mad和不敬虔的模仿杂志，它产生了“形状，扭曲了他的想法，让他知道某人在某个地方传播了他的波长。透明

“You wanted a sign you weren’t alone,” Doherty concludes, “a real physical sign you could hold in your hands.”

肮脏的图片：地下网络网络网络，女权主义者，不屈服，天才，骑自行车的人，potheads，打印机，知识分子和艺术学校叛乱分子如何革新艺术并发明了comix
By Brian Doherty
（艾布拉姆斯出版社； 448页； $ 30）

作者活动

KPFA and the Cartoon Art Museum present Brian Doherty with Ron Turner, Trina Robbins and Jay Kinney:面对面的活动也对KPFA广播电台有利。下午6点7月14日。提前15美元。S.F. 781 Beach St.kpfa.org