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The Comics Journal Library Vol. 9: Zap The Interviews

Details for this: Book
Author: edited by Michael Dean & Gary Groth
Format: Softcover
Pages: 264
Dimensions: 10" x 12"
Colors: color/black & white
Year: 2014
Publisher: Fantagraphics
ISBN-10: n/a
ISBN-13: 978-1-60699-788-8
Additional Details: Introduction by Bob Levin

Price: $35.00


Here in one place are the definitive Comics Journal interviews with the cartoonists behind Zap Comix. Featuring: Supreme underground artist Robert Crumb on how acid unleashed a flood of Zap characters from his unconscious; Marxist brawler Spain Rodriguez on how he made the transition from the Road Vultures biker gang to the exclusive Zap cartoonists' club; Yale alumnus Victor Moscoso and Christian surfer Rick Griffin on how their poster-art psychedelia formed the backdrop of the 1960s San Francisco music scene; Savage Id-choreographer S. Clay Wilson on how his dreams insist on being drawn; Painter and Juxtapoz-founder Robert Williams on how Zap #4 led to 150 news-dealer arrests; Fabulous, Furry, Freaky Gilbert Shelton on the importance of research; Church of the Subgenius founder Paul Mavrides on getting a contact high during the notorious Zap jam sessions; and much more. In these definitive interviews, the Zap contributors open up about how they came to create a seminal, living work of art.

19-page excerpt (download 4.2 MB PDF):

Video & Photo Slideshow Preview (view in new window):

Crumb: "Growing up in the '50s and early '60s you got this heavy program about what you're supposed to do and what the nature of things was, and breaking out of that was revolutionary. I think that permanently altered American history, and made a rift that will never be healed."

Moscoso: "I describe Zap as a democratic anarchy, which seems like a contradiction, but somehow ... it is! We are a contradiction. But we're the longest-running underground comic book going. When I think about it, I think, 'Wow, we're the Rolling Stones of underground comix.'"

Spain: "When Crumb did the first Zap, it just hit the whole underground comics world like a hurricane — it was really a major thing. It was beautiful, just a beautiful piece of work."

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