Underground comix

Underground comix are small press or self-published comic

books that are often socially relevant or satirical in nature. They Underground comix
differ from mainstream comics in depicting content forbidden to
mainstream publications by the Comics Code Authority,
including explicit drug use, sexuality, and violence. They were
most popular in the United States in the late 1960s and 1970s,
and in the United Kingdom in the 1970s.

Robert Crumb, Gilbert Shelton, Barbara "Willy" Mendes, Trina

Robbins and numerous other cartoonists created underground
titles that were popular with readers within the counterculture
scene. Punk had its own comic artists like Gary Panter. Long after
their heyday underground comix gained prominence with films
and television shows influenced by the movement and with
mainstream comic books, but their legacy is most obvious with
alternative comics.

Contents The cover artwork for the first issue

of Zap Comix, featuring the
History
character Mr. Natural.
United States
Early history (1967–1972) Authors R. Crumb
Recognition and controversy (1972–1982) Kim Deitch
1982–present Trina Robbins
United Kingdom Spain Rodriguez
Archives Gilbert Shelton
See also Publishers Apex Novelties
References Kitchen Sink Press
Bibliography Last Gasp
External links Print Mint
Rip Off Press

History Publications Zap Comix

Arcade
Bijou Funnies
United States
Fabulous Furry
Freak Brothers
Early history (1967–1972)
Wimmen's Comix
Between the late 1920s and late 1940s, anonymous underground Related genres
artists produced counterfeit pornographic comic books featuring
Alternative comics
unauthorized depictions of popular comic strip characters
engaging in sexual activities. Often referred to as Tijuana bibles,
these books are often considered the predecessors of the underground comix scene.[1][2] Early
underground comix appeared sporadically in the early and mid-1960s, but did not begin to appear
frequently until after 1967. The first underground comix were personal works produced for friends of
the artists, in addition to reprints of comic strip pages which first appeared in underground
newspapers.[3]

The United States underground comics scene emerged in the 1960s, focusing on subjects dear to the
counterculture: recreational drug use, politics, rock music and free love. These titles were termed
"comix" in order to differentiate them from mainstream publications. The "X" also emphasized the X-
rated contents of the publications.[3] Many of the common aspects of the underground comix scene
were in response to the strong restrictions forced upon mainstream publications by the Comics Code
Authority, which refused publications featuring depictions of violence, sexuality, drug use and
socially relevant content, all of which appeared in greater levels in underground comix.[3] The
underground comix scene had its strongest success in the United States between 1968 and 1975,[3]
with titles initially distributed primarily though head shops.[4] Underground comix often featured
covers intended to appeal to the drug culture, and imitated LSD-inspired posters to increase sales.[3]
Crumb stated that the appeal of underground comix was their lack of censorship: "People forget that
that was what it was all about. That was why we did it. We didn't have anybody standing over us
saying 'No, you can't draw this' or 'You can't show that'. We could do whatever we wanted."[3]

American comix were strongly influenced by EC Comics and especially magazines edited by Harvey
Kurtzman, including Mad.[3] Kurtzman's Help! magazine featured the works of artists who would
later become well known in the underground comix scene, including Crumb and Shelton.[3] Other
artists published work in college magazines before becoming known in the underground scene.[3]

Perhaps the earliest of the underground comic strips was Frank Stack's (under the pseudonym
Foolbert Sturgeon)[5][6] The Adventures of Jesus, begun in 1962 and compiled in photocopied zine
form by Gilbert Shelton in 1964. It has been credited as the first underground comic.[5][6] Shelton's
own Wonder Wart-Hog appeared in the college humor magazine Bacchanal #1-2 in 1962. Jack
Jackson's God Nose, published in Texas in 1964,[7][8] has also been given that title. One guide lists
two other underground comix from that year, Vaughn Bodē's Das Kampf and Charles Plymell's
Robert Ronnie Branaman.[9] Joel Beck began contributing a full-page comic each week to the
underground newspaper the Berkeley Barb and his full-length comic Lenny of Laredo was published
in 1965.

The San Francisco Bay Area was an epicenter of the underground comix movement; Crumb and
many other underground cartoonists lived in San Francisco's Haight-Ashbury neighborhood in the
mid-to-late 1960s.[10] Just as importantly, the major underground publishers were all based in the
area: Don Donahue's Apex Novelties, Gary Arlington's San Francisco Comic Book Company, and Rip
Off Press were all headquartered in the city, with Ron Turner's Last Gasp and the Print Mint based in
Berkeley.[11] (Last Gasp later moved to San Francisco.)

In 1968, John Thompson, Joel Beck, and Robert Crumb founded the tabloid underground comic
newspaper Yellow Dog, which lasted for 26 issues, first as a newspaper, and then in comic book
format from #13 up.

Also in 1968, Crumb, in San Francisco, self-published (with the help of poet Charles Plymell and Don
Donahue of Apex Novelties) his first solo comic, Zap Comix. The title was financially successful, and
developed a market for underground comix. Zap began to feature other cartoonists, and Crumb
launched a series of solo titles, including Despair, Uneeda (both published by Print Mint in 1969),
Big Ass Comics, R. Crumb's Comics and Stories, Motor City Comics (all published by Rip Off Press in
1969), Home Grown Funnies (Kitchen Sink Press, 1971) and Hytone Comix (Apex Novelties, 1971), in
addition to founding the pornographic anthologies Jiz and Snatch (both Apex Novelties, 1969).[3]

By the end of the 1960s, there was recognition of the movement by a major American museum when
the Corcoran Gallery of Art staged an exhibition, The Phonus Balonus Show (May 20-June 15, 1969).
Curated by Bhob Stewart for famed museum director Walter Hopps, it included work by Crumb,
Shelton, Vaughn Bodé, Kim Deitch, Jay Lynch and others.[12][13]

Crumb's best known underground features included Whiteman, Angelfood McSpade, Fritz the Cat,
and Mr. Natural. Crumb also drew himself as a character, portraying himself as he was often
perceived—a self-loathing, sex-obsessed intellectual.[3] While Crumb's work was often praised for its
social commentary, he was also criticized for the misogyny that appeared within his comics. Trina
Robbins stated "It's weird to me how willing people are to overlook the hideous darkness in Crumb's
work... What the hell is funny about rape and murder?"[3] Because of his popularity, many
underground cartoonists tried to imitate Crumb's work.[3] While Zap was the best known anthology
of the scene, other anthologies appeared, including Bijou Funnies, a Chicago publication edited by
Jay Lynch and heavily influenced by Mad.[3] The San Francisco anthology Young Lust (Company &
Sons, 1970), which parodied the 1950s romance genre, featured works by Bill Griffith and Art
Spiegelman. Another anthology, Bizarre Sex (Kitchen Sink, 1972), was influenced by science fiction
comics and included art by Denis Kitchen and Richard "Grass" Green, one of the few African-
American comix creators.[3]

Other important underground cartoonists of the era included Deitch, Rick Griffin, George Metzger,
Victor Moscoso, S. Clay Wilson and Manuel Rodriguez, aka Spain. Skip Williamson created his
character Snappy Sammy Smoot, appearing in several titles. Gilbert Shelton became famous for his
superhero parody Wonder Wart-Hog (Millar, 1967), Feds 'n' Heads (self-published in 1968) and The
Fabulous Furry Freak Brothers (Rip Off Press, 1971), a strip about a trio of "freaks" whose time is
spent attempting to acquire drugs and avoid the police.[3] Wilson's work is permeated by shocking
violence and ugly sex; he contributed to Zap and published Bent (Print Mint, 1971), Pork (Co-Op
Press, 1974) and The Checkered Demon (Last Gasp, 1977).[3] Spain worked for the East Village Other
before becoming known within the underground comix for Trashman, Zodiac Mindwarp (East
Village Other, 1967) and Subvert (Rip Off Press, 1970).[3]

Horror also became popular, with titles such as Skull (Rip Off Press, 1970), Bogeyman (San
Francisco Comic Book Company, 1969), Fantagor (Richard Corben, 1970), Insect Fear (Print Mint,
1970), Up From the Deep (Rip Off Press, 1971), Death Rattle (Kitchen Sink, 1972), Gory Stories
(Shroud, 1972), Deviant Slice (Print Mint, 1972) and Two Fisted Zombies (Last Gasp, 1973). Many of
these were strongly influenced by 1950s EC Comics like Tales from the Crypt.[3]

The male-dominated scene produced many blatantly misogynistic works, but female underground
cartoonists made strong marks as well. Edited by Trina Robbins, It Ain't Me, Babe, published by Last
Gasp in 1970, was the first all-female underground comic;[3] followed in 1972 by Wimmen's Comix
(Last Gasp), an anthology series founded by cartoonist Patrica Moodian that featured (among others)
Melinda Gebbie, Lynda Barry, Aline Kominsky, and Shary Flenniken. Joyce Farmer and Lyn Chevli's
Tits & Clits Comix all-female anthology debuted in 1972 as well.

Recognition and controversy (1972–1982)

By 1972–1973, the city's Mission District was "underground headquarters": living and operating out
of The Mission in that period were Gary Arlington, Roger Brand, Kim Deitch, Don Donahue, Shary
Flenniken, Justin Green, Bill Griffith & Diane Noomin, Rory Hayes, Jay Kinney, Bobby London, Ted
Richards, Trina Robbins, Joe Schenkman, Larry Todd, Patricia Moodian and Art Spiegelman.[14]

Film and television began to reflect the influence of underground comix in the 1970s, starting with
the release of Ralph Bakshi's film adaptation of Crumb's Fritz the Cat, the first animated film to
receive an X rating from the MPAA.[4] Further adult-oriented animated films based on or influenced
by underground comix followed, including The Nine Lives of Fritz the Cat and Down and Dirty
Duck.[4] The influence of underground comix has also been attributed to films such as The Lord of
the Rings (1978) and Forbidden Zone (1980).[4] The popularity of Monty Python's Flying Circus,
which featured the animation of Help! contributor Terry Gilliam, has also been attributed to the
prominence of the underground comix scene.[3][4]

By 1972, only four major underground publishers remained: the Print Mint, Rip Off Press, Last Gasp,
and Krupp Comic Works (Kitchen Sink Press).[15] Mainstream publications such as Playboy and
National Lampoon began to publish comics and art similar to that of underground comix.[3] The
underground movement also prompted older professional comic book artists to try their hand in the
alternate press. Wally Wood published witzend in 1966, soon passing the title on to artist-editor Bill
Pearson. In 1969, Wood created Heroes, Inc. Presents Cannon, intended for distribution to armed
forces bases. Steve Ditko gave full vent to his Ayn Rand-inspired philosophy in Mr. A and Avenging
World (1973). Flo Steinberg, Stan Lee's former secretary at Marvel Comics, published Big Apple
Comix, featuring the work of artists she knew from Marvel.

Critics of the underground comix scene claimed that the publications were socially irresponsible, and
glorified violence, sex and drug use.[3] In 1973, the U.S. Supreme Court, in Miller v. California, ruled
that local communities could decide their own First Amendment standards with reference to
obscenity. In the mid-1970s, sale of drug paraphernalia was outlawed in many places, and the
distribution network for these comics (and the underground newspapers) dried up, leaving mail
order as the only commercial outlet for underground titles.[4] While the American underground
comix scene was beginning to decline, British underground comix came into prominence between
1973 and 1974, but soon faced the same kind of criticism that American underground comix
received.[3]

In 1974, Marvel launched Comix Book, requesting that underground artists submit significantly less
explicit work appropriate for newsstands sales.[3] A number of underground artists agreed to
contribute work, including Art Spiegelman, Trina Robbins and S. Clay Wilson. However, Comix Book
did not sell well and lasted only five issues.[3][16] In 1976, Marvel achieved success with Howard the
Duck, a satirical comic aimed at adult audiences that was inspired by the underground comix scene.
While it did not depict the explicit content that was often featured in underground comix, it was more
socially relevant than anything Marvel had previously published.[3]

By this time, some artists, including Spiegelman, felt that the underground comix scene had become
less creative than it had been in the past. According to Spiegelman, "What had seemed like a
revolution simply deflated into a lifestyle. Underground comics were stereotyped as dealing only with
Sex, Dope and Cheap Thrills. They got stuffed back into the closet, along with bong pipes and love
beads, as Things Started To Get Uglier."[3] One of the last major underground titles was Arcade: The
Comics Revue, co-edited by Spiegelman and Bill Griffith. With the underground movement
encountering a slowdown, Spiegelman and Griffith conceived of Arcade as a "safe berth," featuring
contributions from such major underground figures as Robert Armstrong, Robert Crumb, Justin
Green, Aline Kominsky, Jay Lynch, Spain Rodriguez, Gilbert Shelton, and S. Clay Wilson (as well as
Griffith and Spiegelman). Arcade stood out from similar publications by having an editorial plan, in
which Spiegelman and Griffith attempted to show how comics connected to the broader realms of
artistic and literary culture.[17] Arcade lasted seven issues, from 1975 to 1976.

Autobiographical comics began to come into prominence in 1976, with the premiere of Harvey
Pekar's self-published comic American Splendor, which featured art by several cartoonists, including
Crumb.[3] Comics critic Jared Gardner asserts that, while underground comix was associated with
countercultural iconoclasm, the movement's most enduring legacy was to be autobiography.[18]

In the late 1970s, Marvel and DC Comics agreed to sell their comics on a no-return basis with large
discounts to comic book retailers; this led to later deals that helped underground publishers.[4]
During this period, underground titles focusing on feminist and Gay Liberation themes began to
appear, as well as comics associated with the environmental movement.[3] Anarchy Comics focused
on left-wing politics, while Barney Steel's Armageddon focused on anarcho-capitalism.[19] British
underground cartoonists also created political titles, but they did not sell as well as American political
comics.[3]

Artists influenced by the underground comix scene, who were unable to get work published by better
known underground publications, began self-publishing their own small press, photocopied comic
books, known as minicomics.[20] The punk subculture began to influence underground comix.[21]

1982–present

In 1982, the distribution of underground comix changed through the emergence of specialty stores.[4]

In response to attempts by mainstream publishers to appeal to adult audiences, alternative comics

emerged, focusing on many of the same themes as underground comix, as well as publishing
experimental work.[21] Artists formally in the underground comix scene began to associate
themselves with alternative comics, including Barry, Crumb, Deitch, Griffith and Justin Green.[21] In
the 1980s, sexual comix came into prominence, integrating sex into storylines rather than utilizing
sexual explicitness for shock value.[21] The first of these features was Omaha the Cat Dancer, which
made its first appearance in an issue of the zine Vootie. Inspired by Fritz the Cat, Omaha the Cat
Dancer focused on an anthropomorphic feline stripper.[22] Other comix with a sexual focus included
Melody (http://www.ego-comme-x.com/spip.php?article757), based on the life story of Sylvie
Rancourt and Cherry, a comedic sex comic featuring art similar in style to that of Archie
Comics.[21][22]

In 1985, Griffith's comic strip Zippy the Pinhead was syndicated as a daily feature. It originally
appeared in underground titles before being syndicated.[4] Between 1980 and 1991 Spiegelman's
graphic novel Maus was serialized in Raw, and published in two volumes in 1986 and 1991. It was
followed by an exhibition at the Museum of Modern Art and a Pulitzer Prize for Spiegelman in 1992.
The novel originated from a three-page story first published in an underground comic, Funny
Aminals (cq), (Apex Novelties, 1972).[4]

The 1990s witnessed a renaissance in the genre in the United Kingdom, through Brain Damage, Viz,
and others.

Alternative cartoonist Peter Bagge was strongly influenced by underground comics,[21] and was
reciprocally admired by Crumb, whom Bagge edited Weirdo magazine for in the 1980s; he could be
considered part of a "second generation" of underground-type cartoonists, including such notables as
Mike Diana, Johnny Ryan, Bob Fingerman, David Heatley, Danny Hellman, Julie Doucet, Jim
Woodring, Ivan Brunetti, Gary Leib, Doug Allen, and Ed Piskor. Many of these artists were published
by Fantagraphics Books, which was founded in 1977 and through the 1980s and 90s became a major
publisher of alternative and underground cartoonists' work.

As of the 2010s, reprints of early underground comix continue to sell alongside modern underground
publications.[4]

The 2010s Foreskin Man series has been referred to as comix by some reviewers. [23]

United Kingdom

British cartoonists were introduced in the underground publications International Times (IT),
founded in 1966, and Oz founded in 1967, which reprinted some American material.[3] During a visit
to London, Larry Hama created original material for IT.[24] The first UK comix mag was Cyclops,
started by IT staff members. In a bid to alleviate its ongoing financial problems, IT brought out Nasty
Tales (1971), which was soon prosecuted for obscenity. Despite
appearing before the censorious Old Bailey Judge Alan King-Hamilton,
the publishers were acquitted by the jury.[25][26] In the wake of its own
high-profile obscenity trial Oz launched cOZmic Comics in 1972,
printing a mixture of new British underground strips and old American
work.

When Oz closed down the following year the cOZmic was continued by
fledgling media tycoon Felix Dennis and his company, Cozmic
Comics/H. Bunch Associates, which published from 1972–1975.[27] The
UK-based cartoonists included Chris Welch, Edward Barker, Michael J.
Weller, Malcolm Livingstone, William Rankin (aka Wyndham Raine),
Dave Gibbons, Joe Petagno, Bryan Talbot, and the team of Martin
Sudden, Jay Jeff Jones and Brian Bolland.[3] OZ London, No.33,
February 1971; art by
Reprints were popular with publishers because underground artists had Norman Lindsay
no claims on their work.[3] The basis for this was that material originally
printed in publications that belonged to the Underground Press
Syndicate was available to reprint for free by other UPS members. This permission was exploited by
some underground comix publishers, bulking up or entirely filling their own magazines with work
whose creators didn't receive any payment even when those publishers made a profit. The last UK
comix series of note was Brainstorm Comix (1975), which featured only original British strips.

Hassle Free Press was founded in London in 1975 by Tony and Carol Bennett as a publisher and
distributor of underground books and comics. Now known as Knockabout Comics, the company has a
long-standing relationship with underground comix pioneers Gilbert Shelton and Robert Crumb, as
well as British creators like Hunt Emerson and Bryan Talbot. Knockabout has frequently suffered
from prosecutions from U.K. customs, who have seized work by creators such as Crumb and Melinda
Gebbie, claiming it to be obscene.[28][29]

Archives
After the death of King Features Syndicate editor Jay Kennedy, his personal underground comix
collection was acquired by the Billy Ireland Cartoon Library & Museum in Ohio.

The University of California, Berkeley's Bancroft Library has a large underground comix collection,
especially related to Bay Area publications; much of it was built by a deposit account at Gary
Arlington's San Francisco Comic Book Store. The collection also includes titles from New York, Los
Angeles, and elsewhere.

See also
The Fabulous Furry Freak Brothers
Keep on Truckin'

References
1. Sabin, Roger (1996). "Comical comics". Comics, Comix & Graphic Novels: A History Of Comic
Art (https://archive.org/details/comicscomixgraph00sabi/page/35). London, United Kingdom:
Phaidon Press. p. 35 (https://archive.org/details/comicscomixgraph00sabi/page/35). ISBN 0-
7148-3008-9.
2. Les Daniels, Comix: A History of Comic Books in America, 1971, chapter 8
 3. Sabin, Roger (1996). "Going underground". Comics, Comix & Graphic Novels: A History Of
Comic Art (https://archive.org/details/comicscomixgraph00sabi/page/92). London, United
Kingdom: Phaidon Press. pp. 92, 94–95, 103–107, 110, 111, 116, 119, 124–126, 128 (https://archi
ve.org/details/comicscomixgraph00sabi/page/92). ISBN 0-7148-3008-9.
4. Estren, Mark James (1993). "Foreword: Onward!". A History of Underground Comics. Ronin
Publishing. pp. 7–8, 10. ISBN 0-914171-64-X.
5. Shelton, Gilbert (2006). "Introduction". The New Adventures of Jesus (https://archive.org/details/n
ewadventuresofj00fran/page/9). Fantagraphics Books. p. 9 (https://archive.org/details/newadvent
uresofj00fran/page/9). ISBN 978-1-56097-780-3.
6. Skinn, Dez (2004). "Heroes of the Revolution". Comix: The Underground Revolution. Thunder's
Mouth Press. p. 34. ISBN 1-56025-572-2.
7. Booke, Keith M. 2010, Encyclopedia of Comic Books and Graphic Novels, ABC-CLIO, LLC,
Santa Barbara, CA
8. Maurice Horn. ed., The World Encyclopedia of Comics, 1976, Robert Crumb
9. Kennedy, Jay. The Official Underground and Newave Comix Price Guide. Boatner Norton Press,
1982.
10. Lopes, Paul. Demanding Respect: The Evolution of the American Comic Book (Temple University
Press, 2009), p. 77.
11. Levin, Bob. The Pirates and the Mouse: Disney's War Against The Underground (Fantagraphics
Books, 2003), p. 41.
12. Corcoran Gallery of Art Exhibitions (http://www.corcoran.org/exhibitions/archive_results.asp?Year
=1969) Archived (https://web.archive.org/web/20110103075907/https://www.corcoran.org/exhibiti
ons/archive_results.asp?Year=1969) 2011-01-03 at the Wayback Machine
13. Richard, Paul. "Walter Hopps, Museum Man with a Talent for Talent". Washington Post, March
22, 2005. (https://www.washingtonpost.com/wp-dyn/articles/A55574-2005Mar21.html)
14. Kinney, Jay. "The Rise and Fall of Underground Comix in San Francisco and Beyond," (http://ww
w.foundsf.org/index.php?title=Rise_and_Fall_of_Underground_Comix) from Ten Years That
Shook the City: San Francisco 1968-78 (City Lights Foundation, 2011), edited by Chris Carlsson.
15. "New Comix!" Bijou Funnies #7 (Krupp Comic Works, Inc., 1972).
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Comic Art (https://archive.org/details/comicscomixgraph00sabi/page/151). London, United
Kingdom: Phaidon Press. p. 151 (https://archive.org/details/comicscomixgraph00sabi/page/151).
ISBN 0-7148-3008-9.
17. Grishakova, Marina; Ryan, Marie-Laure (2010). Intermediality and Storytelling (https://books.goog
le.com/books?id=V5oClRagMywC). Walter de Gruyter. ISBN 978-3-11-023774-0,pp=67–68.
18. * Gardner, Jared (2008). "Autography's Biography, 1972–2007" (http://muse.jhu.edu/journals/biog
raphy/v031/31.1.gardner.pdf) (PDF). Biography. University of Hawaii Press. 31 (1): 6–7 – via
Project MUSE.
19. Multicultural Comics: From Zap to Blue Beetle (https://books.google.com/books?id=Y0O-Jh5dug
UC&pg=PA33&lpg=PA33&dq=barney+steel+libertarian+comic&source=bl&ots=r7epOpcCak&sig=
dsmDftLoNXkgoaYv9v5EJmRaCBk&hl=en&sa=X&ei=U-KWVPmfEpe5oQTy5YKAAw&ved=0CC0
Q6AEwAg#v=onepage&q=barney%20steel%20libertarian%20comic&f=false) - Race and Comix
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Fantagraphics Books. pp. 9–11. ISBN 978-1-60699-313-2.
21. Sabin, Roger (1996). "Alternative Visions". Comics, Comix & Graphic Novels: A History Of Comic
Art (https://archive.org/details/comicscomixgraph00sabi/page/177). London, United Kingdom:
Phaidon Press. pp. 177–78, 182, 188, 200, 208–209 (https://archive.org/details/comicscomixgrap
h00sabi/page/177). ISBN 0-7148-3008-9.
22. Skinn, Dez (2004). "Can't Get Enuff". Comix: The Underground Revolution. Thunder's Mouth
Press. p. 71; 73. ISBN 1-56025-572-2.
23. "San Francisco Circumcision Intactivist's Anti-Semitic Comix" (http://reason.com/blog/2011/06/05/
san-francisco-circumcision-int).
24. International Times
25. "Nasty Tales trial memoir, part 1" (https://web.archive.org/web/20111008023543/http://www.funtop
ia.pwp.blueyonder.co.uk/friends/nastytalestrial1.html). Funtopia.pwp.blueyonder.co.uk. 1973-02-
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26. "Nasty Tales trial pt 2" (https://web.archive.org/web/20111008023623/http://www.funtopia.pwp.blu
eyonder.co.uk/friends/nastytalestrial2.htm). Funtopia.pwp.blueyonder.co.uk. 1973-02-09.
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27. Cozmic Comics/H. Bunch Associates (http://www.comics.org/publisher/5799/), Grand Comics
Database. Accessed Dec. 28, 2016.
28. Sabin, Roger (2000) The Last Laugh: Larfing All the Way to the Dock (http://www.ugcomix.info/lin
ks/arcive/brit-hist.htm) Archived (https://web.archive.org/web/20080513152722/http://www.ugcomi
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29. Knocking about with Tony Bennett (http://forbiddenplanet.co.uk/blog/2006/knocking-about-with-to
ny-bennett/), Forbidden Planet, September 13, 2006

Bibliography
Estren, Mark James. A History of Underground Comics, (Straight Arrow Books/Simon and
Schuster, 1974; revised ed., Ronin publishing, 1992)
Kennedy, Jay. The Underground and New Wave Comix Price Guide. Cambridge, Massachusetts:
Boatner Norton Press, 1982.
Rosenkranz, Patrick. Rebel Visions: the Underground Comix Revolution, 1963–1975
Fantagraphics Books, 2002. ISBN 1-56097-464-8

External links
Moore Collection of Underground Comix (http://lib.calpoly.edu/specialcollections/findingaids/ms05
2/) - A special collection of the library of California Polytechnic State University (Cal Poly)
Lynn R. Hansen Underground Comics Collection (http://www.wsulibs.wsu.edu/MASC/finders/hans
en_comix.htm) - A special collection of the library of Washington State University
UG Comix Info (http://www.ugcomix.info/hub.html#hub) and "A Visual Guide to Underground
Comix Reprints" (http://www.ugcomix.info/guide/index.html), main page. WebCitation archive (http
s://web.archive.org/web/20110719232408/http://www.ugcomix.info/hub.html).
World Comics & Graphic Novels News (WCGNN) (http://paper.li/f-1315927210)
Mark J. Estren, largest collection of underground comics (http://www.roninpub.com/HisUnd.html),
some drawn especially for this book.
Frank Stack Collection (http://mulibraries.missouri.edu/specialcollections/stack.htm) - A special
collection of the University of Missouri Libraries. Also see the Comic Art Collection (http://mulibrari
es.missouri.edu/specialcollections/comic.htm) at the University of Missouri, which specializes in
underground comics.
Comixjoint's Underground Comix Collection (http://comixjoint.com/index.html) Annotated
publishing information on hundreds of issues
Underground comix (https://www.lambiek.net/comics/underground.htm) Lambiek

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This page was last edited on 2 April 2020, at 20:47 (UTC).

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