Saturday, February 29, 2020

Martin Amis / Eleven Quotes


Martin Amis
Poster by T.A.

ELEVEN QUOTES

by Martin Amis

The 100 best novels / No 93 / Money: A Suicide Note by Martin Amis (1984)


“Style is not neutral; it gives moral directions.”

― Martin Amis

 “Oh Christ, the exhaustion of not knowing anything. It’s so tiring and hard on the nerves. It really takes it out of you, not knowing anything. You’re given comedy and miss all the jokes. Every hour you get weaker. Sometimes, as I sit alone in my flat in London and stare at the window, I think how dismal it is, how heavy, to watch the rain and not know why it falls.”

― Martin Amis, Money: A Suicide Note

“Life is made of fear. Some people eat fear soup three times a day. Some people eat fear soup all the meals there are. I eat it sometimes. When they bring me fear soup to eat, I try not to eat it, I try to send it back. But sometimes I’m too afraid to and have to eat it anyway.”

― Martin Amis, Other People

 “The universe is a million billion light-years wide, and every inch of it would kill you if you went there. This is the position of the universe with regards to human life.”

― Martin Amis

 “Love is an abstract noun, something nebulous. And yet love turns out to be the only part of us that is solid, as the world turns upside down and the screen goes black.”

― Martin Amis, The Second Plane: 14 Responses to September 11

 “Closure is a greasy little word which, moreover, describes a nonexistent condition. The truth, Venus, is that nobody gets over anything.”

― Martin Amis, House of Meetings

“And meanwhile time goes about its immemorial work of making everyone look and feel like shit.”

― Martin Amis, London Fields

 “He awoke at six, as usual. He needed no alarm clock. He was already comprehensively alarmed.”

― Martin Amis, The Information

“Only in art will the lion lie down with the lamb, and the rose grow without thorn.”

― Martin Amis

“When the past is forgotten, the present is unforgettable”

― Martin Amis, Other People

“It seems to me that you need a lot of courage, or a lot of something, to enter into others, into other people. We all think that everyone else lives in fortresses, in fastnesses: behind moats, behind sheer walls studded with spikes and broken glass. But in fact we inhabit much punier structures. We are, as it turns out, all jerry-built. Or not even. You can just stick your head under the flap of the tent and crawl right in. If you get the okay. ”

― Martin Amis, Time’s Arrow






Friday, February 28, 2020

Jennifer Aniston / Now and Jen

imageNow and Jen

In a no-holds-barred interview with Jennifer Aniston, funnywoman Amy Sedaris captures the quirkier side of everyone’s favorite friend.
PHOTOGRAPHS BY: 
 SEP 14, 2017
Thanks to her hilarious performances in Office Christmas Party, the Horrible Bosses movies and the cult-favorite Office Space, Jennifer Aniston has earned a reputation as one of Hollywood’s queens of dark comedy. Enter comedian and actress Amy Sedaris for what should have been a straightforward chat with Aniston about her upcoming film project, her latest fragrance (Jennifer Aniston Luxe), and passion for interior design, and things take a slightly twisted turn. Just as she does with the unsuspecting guests on her new show, At Home With Amy Sedaris, premiering this month on truTV, Sedaris deftly steered the talk to bedbugs, seeing ghosts, and the joys of being Greek.

Thursday, February 27, 2020

Unusual toothy pterosaur found hidden in the wrong group




Unusual toothy pterosaur found hidden in the wrong group

The prehistoric flying reptile with oddly dark bones belongs to a whole new genus named after House Targaryen in Game of Thrones.


JOHN PICKREL
PUBLISHED NOVEMBER 26, 2019


A fossilized creature with oddly dark bones has emerged as the first of its name in a newly described line of toothy pterosaurspaleontologists report in the journal Historical Biology. Dubbed Targaryendraco wiedenrothi, in a nod to the fictional House Targaryen from the blockbuster TV series Game of Thrones, the reptile is the most complete Cretaceous pterosaur known from Germany.

George R.R. Martin / Game of Thrones honoured in new classification of pterosaur




George R.R. Martin

Game of Thrones honoured in new classification of pterosaur

Targaryendraco wiedenrothi has been renamed after House of Targaryen in George RR Martin’s fantasy saga

Alison Flood

George RR Martin is celebrating after a palaeontologist, who named a new genus of pterosaur after the dragons of House Targaryen, agreed with him that dragons should have two, rather than four, legs.

Wednesday, February 26, 2020

Alma Guillermoprieto / Interview / Esther Allen




Alma Guillermoprieto


by Esther Allen

BOMB 87/Spring 2004LITERATURE

More than a decade ago now, I came across a book titled Samba, by a woman with a long last name, really a first and last name run together, that I recognized: Guillermo Prieto. I was doing research at the time on nineteenth-century accounts of travel between the Americas, and Prieto was one of those travelers. A leading Mexican poet and political figure, Prieto spent some time in exile in the United States during the brief imperial reign of Maximilian and Carlota (1864-67). Later he wrote an account of his journey, published in 1878 under the resonant pseudonym “Fidel.” One phrase from that book has stayed in my memory. “Travel,” Prieto wrote, “is, in the final analysis, the abandonment of personality.”

Erica Simone / Power of Naked



Erica Simone
POWER OF NAKED
Directed by Paul de Luna



Tuesday, February 25, 2020

Papillon / Review by Paulina Kael

  • Papillon (1973)

    Papillon 

    (1973) 

    Review by Pauline Kael


    Solemnity is a crippling disease that strikes moviemakers when they’re on top: a few big hits and they hire Dalton Trumbo and go into their indomitable-spirit-of-man lockstep. Papillon, the most expensive movie of the year, is a thirteen-and-a-half-million-dollar monument to the eternal desire of moviemakers to win awards and impress people. How can you play around and try out ideas on a property like the Henri Charriere best-seller, which probably cost a couple of million to start with, and with stars (Steve McQueen and Dustin Hoffman) who defi­nitely cost three and a quarter million between them? It would be like juggling with the Elgin Marbles. What should have been an entertaining escape-from-Devil’s Island thriller, with some laughs, some suspense, and some colorful cutthroats and likable thieves, has been treated not as if it were an escape story but as if it were the escape story. The story has become practically abstract, and for much of the time the movie can’t be bothered telling us where Papillon (Steve McQueen) is escaping from or where he hopes to go. The moviemakers have approached the subject of Papillon (a French safecracker who was sentenced to prison for life for killing a pimp and who, thirty-odd years after he broke out, trumped up his adventures into a best-seller about his many escape attempts) as if they were making an important historical biography — about a pope, at the very least.

    Here’s to you, Mrs Robinson / Why The Graduate unites warring generations 50 years on




    Here’s to you, Mrs Robinson: why The Graduate unites warring generations 50 years on


    Watching the classic 1967 Dustin Hoffman film in a post-Brexit world of boomerang children lends it a whole new resonance. Which is hardly surprising when you consider the parallels with the era in which it was created

    Ellen E Jones
    Thursday 15 June 2017 12.30 BST



    I
    t was the Summer of Love, the first one. Young people were making their voices heard in politics and revealing the widening chasm between themselves and their parents’ generation. The film that summed it all up was The Graduate, released in the US in December 1967, starring Dustin Hoffman as Benjamin Braddock, a despondent 20-year-old who moves back home after finishing college, and Anne Bancroft as Mrs Robinson, the much older women who seduces him.

    Monday, February 24, 2020

    The Graduate at 50 / why Mrs Robinson almost failed to seduce Hollywood




    The Graduate at 50: why Mrs Robinson almost failed to seduce Hollywood



    The wicked wit and enigma of Dorothy Parker / 50 years on

    The wicked wit and enigma of Dorothy Parker – 50 years on


    Fifty years after her death, this master of the one-liner has survived better than the rest of her New Yorker set, but everything you know about her is liable to be wrong

    John Dugdale
    Friday 16 June 2017 12.00 BST

    A bestselling poet who moved on to fiction, Dorothy Parker, who died 50 years ago this month, single-handedly invented “the New Yorker short story”, the kind of debonair but melancholy tale later associated with JD Salinger and John Cheever. She was equally innovative as a critic, pioneering a first‑person style and busting the taboo on hatchet jobs by women when reviewing theatre – she was fired under pressure from Broadway managers after three plays that she had slated closed – and books (as “Constant Reader”, best remembered for her one-liner on AA Milne, “Tonstant Weader Fwowed Up”).

    Sunday, February 23, 2020

    Emil Ratajkowski Sparkles in Sequins for C Magazie Spread




    Emily Ratajkowski on C Magazine September 2016 Cover

    EMILY RATAJKOWSKI SPARKLES IN SEQUINS FOR C MAGAZINE SPREAD

    Published on 




    Emily Ratajkowski on C Magazine September 2016 Cover

    Emily Ratajkowski shines in gold on the September 2016 cover of C Magazine. Captured by Beau Grealy, the model and actress wears an embellished Balmain top and skirts with a wet hairstyle. Inside the magazine, Emily hits the beach in sequins and metallic embroideries from the fall collections. Stylist Alison Edmond selects the designs of Diane von Furstenberg, Just Cavalli, Valentino and more for the brunette to wear.
    In her interview, Emily talks about being a feminist, dealing with fame and more. “I keep a low profile,” she tells the magazine. “The worst feeling is when you’re at a restaurant and really feeling comfortable with your friends and then all of a sudden people are looking at you and taking your picture.”

    Emily Ratajkowski Strips Down for New Jewerly Campaign




    Emily Ratajkowski poses topless for Jacquie Aiche's spring 2016 jewelry campaign
    Emily Ratajkowski poses topless for Jacquie Aiche’s spring 2016 jewelry campaign

    EMILY RATAJKOWSKI STRIPS DOWN FOR NEW JEWELRY CAMPAIGN

    Published on 




    Emily Ratajkowski poses topless for Jacquie Aiche’s spring 2016 jewelry campaign

    Emily Ratajkowski models jewelry by stripping down for LA-based label Jacquie Aiche’s new campaign. The brunette stunner wears looks from the spring 2016 collection including layering necklaces, stacked rings and glittering earrings. Emily goes topless, showing off her buxom figure in addition to casual tanks, utility jackets and knitted sweaters. The jewelry collection includes metal chains, opals, turquoise and other precious gemstones.

    Tanino Liberatore / Women IV


    Tanino Liberatore
    WOMEN IV




    Saturday, February 22, 2020

    Flannery O’Connor / A Good Man Is Hard To Find


    A Good Man Is Hard To Find
    by Flannery O’Connor





    The grandmother didn't want to go to Florida. She wanted to visit some of her connections in east Tennes- see and she was seizing at every chance to change Bailey's mind. Bailey was the son she lived with, her only boy. He was sitting on the edge of his chair at the table, bent over the orange sports section of the Journal. "Now look here, Bailey," she said, "see here, read this," and she stood with one hand on her thin hip and the other rattling the newspaper at his bald head. "Here this fellow that calls himself The Misfit is aloose from the Federal Pen and headed toward Florida and you read here what it says he did to these people. Just you read it. I wouldn't take my children in any direction with a criminal like that aloose in it. I couldn't answer to my conscience if I did."

    Diane Keaton / 'I've played around with all different kinds of men'






    Diane Keaton: 'I've played around with all different kinds of men'




    Diane Keaton 
    The ever stylish Diane Keaton talks to Stella about her new role in Hampstead CREDIT:MARK ABRAHAMS 





    Forty-five years after The Godfather, 40 years after Annie Hall, and Diane Keaton, aged 71, Academy Award-winner, comedy genius, style icon and everyone’s sweetheart, is giving me a private audience in the suite of a hotel in central London.

    Friday, February 21, 2020

    Life's a struggle as Venezuela inflation heads for one million per cent

    Some Venezuelans find a way to use devalued money that is now just paper.
    Photograph: Juancho Torres


    Life's a struggle as Venezuela inflation heads for one million per cent

    The IMF has drastically upped its inflation prediction, with people unable to afford food and medicine – even as Nicolás Maduro tightens his grip on power

    Joe Parkin Daniels in Bogotá and María Ramírez 
    in Ciudad Guayana
    Wed 25 Jul 2018


    T
    wo years ago, shoppers in Venezuela would pay fruit sellers like José Pacheco with boxfuls of 100 bolívar notes – then the currency’s highest denomination. Now, thanks to rampant hyperinflation, even those are useless.

    “It’s crazy to accept notes of 100, 500, or 1,000 bolivares,” said Pacheco, a wiry 61-year-old, whose humble stall clings to the fringe of one of the major markets in Ciudad Guayana, a city in Venezuela’s southern Bolívar state.

    'It's a pain you will never overcome' / Crisis in Venezuela as babies die of malnutrition





    'It's a pain you will never overcome': crisis in Venezuela as babies die of malnutrition

    As Venezuela enters its seventh year of a crushing depression, doctors are seeing a rise in infant mortality rates due to deprivation
    by  and  in El Callao
    Wed 12 February 2020
    Her coffin was little larger than a shoe box. Her life had lasted three short months.
    “She was a calm little thing,” the girl’s grandmother, Yamilet Zerpa, remembered as mourners filed into her sitting room to say their last goodbyes.
    On a table before them lay a small white casket lined with sky blue cloth. Inside was Yaretzi López Pinto: born 14 October 2019, declared dead on Thursday 16 January this year.

    Morticians had folded Yaretzi’s delicate hands over her chest and placed a pink flower on her fingers. Minnie Mouse smiled up from her dress beside the word: “Sweetheart”.

    Thursday, February 20, 2020

    'All we have are walls' / Crisis leaves Venezuela’s schools crumbling



    Child in hospital
    Barquisimeto, Venezuela


    'All we have are walls': crisis leaves Venezuela’s schools crumbling

    Schools across the country in dire straits as teachers abandon the profession or skip the country amid one of the worst economic downturns in modern history

    by  and  in El Palmar
    Saturday 15 February 2020

    There are 723 pupils at the José Eduardo Sánchez Afanador school but no electricity, no computers, no tables and no chairs.
    The windows lack glass, the toilets have lost their sinks and its metal classroom doors have been plundered by thieves, allowing pigeons to colonize several of the filthy spaces.

    Children of the crisis / A million children left behind as Venezuela crisis tears families apart

    Nicolás Maduro

    Venezuela: children of the crisis

    A million children left behind as Venezuela crisis tears families apart


    As the country battles economic collapse, parents have been forced to migrate, leaving their offspring in the care of family, neighbours or sometimes alone
    by  and  in Ciudad Guayana

    Thu 20 February 2020

    It has been four months since Isabel Carrasco skipped her crumbling country, entrusting her daughters to a neighbour to join modern South America’s largest ever exodus.
    Carrasco’s destination was Guyana, although the woman now raising her children isn’t sure which part.
    Her mission: to earn enough money to help her children back in Venezuela survive its economic collapse.

    Wednesday, February 19, 2020

    Ivan Ilych / The Tragedy of an Unexamined Life

    • Tolstoy on his death bed, 1910

    IVAN ILYCH: THE TRAGEDY OF AN UNEXAMINED LIFE

    by Robin Gretz
    Each of us one day will face illness and death. Yet rarely do we consider whether the choices we make in life can help us face suffering and death with courage and dignity. The Death of Ivan Ilych, by the Russian writer Leo Tolstoy, is the story of a dying man’s struggle to come to terms with the meaning of his life, even as he endures an agonizing death. It is a powerful novel that raises disturbing questions about moral choice, the importance of being treated as a person rather than a patient, and the life-sustaining value of family and friends. This essay examines one man’s suffering and dying in a way that suggests that the choices we make during our lives have much to do with the kind of death we will experience.
    When a man dies, he does not just die of the
    disease he has: he dies of his whole life.
    —Charles Peguy
    Occasionally, a novel or story touches us indelibly, leading to the realization that we can never again look at our life in quite the same way. For me, The Death of Ivan Ilych by Leo Tolstoy is such a book. For those who have known death, either personally or professionally, or for those who find in literature clues to the diversity of human experience, this story is a valuable pathway to asking whether the choices we make in life can help us face death with courage and dignity.

    Jennifer Love Hewiit / Red


    Jennifer Love Hewitt
    RED





    Tuesday, February 18, 2020

    Robert Crumb: ‘I was born weird'





    Robert Crumb: ‘I was born weird'


    He’s obsessed with ‘spectacular rear ends’ and he calls his fans scum. Yet comic artist Robert Crumb is at risk of becoming respectable. As his new show opens, he talks about filth, fetishes and his idea of fun

    Claire Armistead
    Sunday 24 April 2016


    R
    obert Crumb is caught in traffic, allowing us time to snoop out the best place for a photoshoot in the upmarket London gallery where more than 50 of his pictures are on display. It all looks so well mannered, this orderly line of black-and-white illustrations, and then you peer into the pictures and the familiar rude energy comes roistering out.


    We decide that we will place him between an erotic rear view of the tennis player Serena Williams and a homely portrait of his wife of almost 40 years, Aline Kominsky-Crumb, in bed with her laptop. Aline is the chunky brunette who features in so much of Robert’s work - not least in the three issues of Art & Beauty magazine that are the subject of this exhibition.
    It is Robert, not Aline, who I have come to interview, and whose pictures are on sale at a starting price of $30,000 (£20,800), but their art is so intertwined that it’s hard to understand either in isolation. One collaboration, unprecedented in the history of comics or indeed any art, had husband and wife each drawing themselves in the throes of sex with each other.

    As we wait for the great man to arrive, Lucas Zwirner, the 25-year-old editor of the gallery’s publishing outlet, gives a learned explanation of the appeal of Crumb’s work to a new generation. “What’s exciting about the work is his openness to his own desire and erotics,” he enthuses. “There’s something irreconcilable at the heart of the work that doesn’t resolve towards a single vision of beauty, and which is at odds with much contemporary art. It’s about seduction and repulsion. You are drawn into the work and you are judging yourself as you look at it.”
    Or, as Crumb says when he finally shuffles in, clad in funereal black and wearing his trademark wire glasses: “The dirt’s on the wall.” At 72, he is a paler, frailer version of the priapic nerd of more than half a century of self-portraits.



    Art & Beauty showcases a less well-known side of him: the lifelong junk shop rummager and connoisseur of vintage media, which he values for the craftsmanship of “the golden age of graphic art”. Published in 1996 and 2002, with the third volume yet to hit the streets, the project was inspired by a soft porn magazine of the 1920s that smuggled risque photographs past the censor under the titular fig leaf Art & Beauty Magazine for Art Lovers and Art Students.
    Pinterest
     Robert Crumb’s 2002 drawing of Serena Williams. Photograph: Courtesy the artist, Paul Morris, and David Zwirner, New York/London
    Some of its pictures are copied directly from vintage magazines – not least two ethnographic images, Handsome Women of the Formidable Zulu Race, in the second volume, and Three African Women from Brazzaville, Congo, in the third. These decorously posed tableaux speak to Crumb’s less decorous fascination with the bodies of black women.
    Which brings us to that picture of Serena Williams, caught mid-smash at Flushing Meadow in 2002, with her breasts and backside jutting from a black Lycra catsuit. The inscription below the picture reads: “A HIGHLY SATISFYING CHALLENGE FOR THE ARTIST’S SKILLS ARE THE GLEAMING HIGHLIGHTS ON THE RESPLENDENT CONTOURS OF TENNIS CHAMPION SERENA WILLIAM AS SHE APPEARED ON THE FIRST NIGHT OF THE US OPEN …”
    It’s an extreme image, arresting and disturbing, and when I say as much he responds a little defensively: “It was traced from a photograph.”

    Yes, but why that picture?
    “It’s my personal fetish or fixation.”
    The fetish is not with Serena Williams as tennis champion so much as with her “spectacular back end”. His insistence that “I don’t care what colour they are” is complicated by another caption beneath a blonde gymnast astride a Swiss exercise ball: “The lovely Coco is renowned the world over as a white girl who is the proud possessor of a striking physical attribute most often claimed by women of African descent.”
     Another illustration by Crumb from Art & Beauty magazine. Photograph: Courtesy the artist, Paul Morris, and David Zwirner, New York/London

    Part of the paradox of Crumb’s art is that the objects of his erotic fixation are often dynamic, powerful women, depicted in gymnastics or yoga or sport. He traces this fetish back to his childhood, explaining morosely: “I was always a contrarian. My wife says sometimes I’m too much so – born weird. I always felt there’s something odd and off about my nervous system. If everybody’s walking forward, I want to walk backwards.
    “During adolescence I couldn’t fit in, and it was very, very painful. But it fired me to develop my own aesthetic. I was very much in pain about being this outcast, but it freed me to drop that Hollywood ideal and pursue the people that I thought attractive.”
    When he became successful in the 1960s with creations such as Fritz the Cat or Mr Natural, the mystic druid, “certain eccentric kinds of women got interested in me.” One of them was his first wife, Dana Morgan, and together, they hawked “cheap, stapled comics” on the streets: “My wife was pregnant and we sold them out of a baby pram.” In 1978, he was married a second time, to Aline, making it a condition of their relationship that he could not be monogamous. They have a daughter Sophie, now a comics artist herself.
    Robert Crumb and Aline Kominsky-Crumb at home in France.
    Pinterest
     Robert Crumb and Aline Kominsky-Crumb at home in France. Photograph: Eamonn McCabe for the Guardian
    A few miles away from Crumb’s pumped-up fantasy women, Aline’s work is on display at the House of Illustration, as part of an exhibition of work by female comic artists. In a talk that evening she will be hailed as a feminist pioneer. “It’s nice to be getting a little attention every once in a while,” she says drily.
    In the 1970s and 80s, while Aline’s reputation grew as a chronicler of the messiness of family life, Crumb’s portrayal of women, and his sexually rampant self-portraiture, led to vilification by feminist critics. “It had some validity,” he says now. “My work is full of anger towards women. I was sent to Catholic school with scary nuns and I was rejected by girls at high school. I sort of got it out of my system, but anger is normal between the sexes. OK, it can go to the top and men can harm women, but if anyone says they are not angry I don’t believe it, especially while your libido is still going. The men who are most charming are often the most contemptuous.”
    Like who? “Like Sam Shepard,” he snaps. “His work is just a seduction of women.” He has said similar things about Martin Amis and Christopher Hitchens.

    In the 90s, his ascent to the high table of art began. A 1994 documentary by his friend and bandmate Terry Zwigoff won the grand jury prize at the Sundance film festival (the two had formed a retro band, R Crumb and His Cheap Suit Serenaders, in the 70s), and the hefty The R Crumb Coffee Table Art Book was published in 1997. Three years later, he was picked up by the New York art dealer Paul Morris. “It was like being a tramp outside a fancy restaurant watching people eat and someone suddenly says, ‘Come in and eat with us.’ I never aspired to that other world of symphony orchestras and ballet. I was the child of popular culture. I just wanted to get my work published,” he says.

    Morris explains how, in early exhibitions, he had to put alarms on Crumb’s work to foil hardcore fans whose sense of entitlement extended to the right to walk off with the pictures. “The scum of the earth. They’re my people,” chortles Crumb, who is tickled by the contradictions of his two worlds. Collectors of cheap comics insist on pristine copies, while fine-art connoisseurs prize the “white-out” of Tipp-Exed corrections that vein his Art & Beauty pictures. He exploited this to the max with four Waiting for Food series – drawings on place mats, which were then sold individually. “Collectors love to get a little marinara sauce with their art.”
     A Crumb illustration from Art & Beauty No 2. Photograph: Courtesy the artist, Paul Morris, and David Zwirner, New York/London
    Even before the third edition of Art & Beauty has hit the streets courtesy of his old publisher, Fantagraphics, the images have been collected into an elegant hardback, edited by Zwirner, that doubles as an exhibition catalogue and retails at £24.
    Although he mournfully insists that his work isn’t as fashionable today as it once was – to a chorus of dissent from Zwirner and Morris – he cheers up when he contemplates the upsides of the new era. Phone cameras, for instance, which allow him and Aline to “capture the commonplace” of scantily clad women waiting in cinema queues or at ice-cream stands. And selfies, “one of the technological miracles of the age we live in”.
    Robert Crumb’s Untitled, 2015, from Art & Beauty magazine.
    Pinterest
     Robert Crumb’s Untitled, 2015, from Art & Beauty magazine. Photograph: Courtesy the artist and Paul Morris, and David Zwirner Gallery
    It’s a technology that wasn’t around for the first two editions of Art & Beauty and it has given this satirist of desire, whose pneumatic women hold a warped mirror up to commercialised ideals of waiflike fashion models and muscle-bound action heroes, a whole new playpen.
    In one picture, sent directly to his website, a young Latina woman photographs herself in various states of undress. The caption reports that, after listing her age, height and vital statistics, she wrote: “It would be a big pleasure to be a part of your art.” It continues: “In reply, we can only say, the pleasure is ours.” That knowing repetition of the word “pleasure” takes you straight to the little speccy guy, just out of frame, squirming with lust behind his drawing pad.
     Art & Beauty is at David Zwirner Gallery, London, until 2 June
     This article was amended on 25 April 2016 to clarify that it was with his first wife that Robert Crumb sold comics out of a baby pram.