The Brief

The cartoonist R. Crumb has captivated, titillated and agitated audiences since the 1960s, first as the creator of Zap Comix, which included counterculture strips like “Fritz the Cat” and “Keep on Truckin’,” then during his rise through the small press “underground comix” movement of the '60s to become a pioneer of counterculture comic book art.

His work through the years has been criticized as misogynistic and racist, while simultaneously being celebrated in museums like the Hammer and the Whitney for their biting satire.

While the now-82-year-old Crumb was first established as an icon of the American left, born of the hippie movement that celebrated a mistrust in “the establishment,” his ongoing and deep relationship to societal paranoia has pushed him to a contemporary liberal fringe. Crumb mistrusts public figures across the political spectrum from Donald Trump to Anthony Fauci.

It's a fear of an ever-present “Deep State” that continues to drive Crumb’s work as he illustrates his modern-day anxieties, dives into updated conspiracy theories and pauses periodically to question if maybe he’s really just crazy?

In “Tales of Paranoia,” Crumb’s first publication of new work in 23 years, out this November, he includes a chart of powerful people he fears, ranging from J.D. Vance to Kim Kardashian, though Crumb doesn't list them by name, cheekily out of fear of their reprisal.

R. Crumb, "Cover: Tales of Paranoia," 2025

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Courtesy the artist, Paul Morris, and David Zwirner

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“The thing about paranoia is it means that it's not based on a full knowledge of what's going on. It's based on the fact that you don't know what's going on. So, you’re trying to find out, and in the process, your mind can go to all kinds of crazy places,” Crumb told LAist.

Panels from “Tales of Paranoia” can be seen in an exhibition at David Zwirner’s L.A. gallery through Dec. 20. The show displays Crumb’s first in-depth solo comic work in more than 20 years and is his first showing in Los Angeles since 2009.

The show also includes panels from a collaborative, autobiographical comic done with Crumb’s late wife and longtime artistic partner Aline Kominsky-Crumb and their daughter, artist Sophie Crumb, and a digitized version of his notebook that gallery-goers can flip through on an interactive screen.

Page from R. Crumb, "What is Paranoia?," 2025

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Courtesy the artist, Paul Morris, and David Zwirner

)

In his pursuit of answers, Crumb is as equally voracious for knowledge and perspectives as he is dubious of those with power.

“I constantly try and sort out my feelings about human nature,” he said. “I mean, in my daily life, people seem pretty nice and all that, but there's so much nasty stuff going on. There's so much deception and manipulation and exploitation, and then hypocrisy and people that are very clever at what's called perception management.”

Crumb’s personal sense of paranoia has informed his work for decades, but it took a long time to make it the main focus of a comic.

“It took me 20 years of kind of festering about all this stuff until I was able to actually discuss it in a book,” Crumb said. “And I put it off for years and years because I knew I can't just do a comic that's just me, a talking head, page after page of me with half the panel as text. But that's what I ended up doing. I couldn't think of any cleverer way to do it. Just me mulling it over in public, you know, in print.”

Arguably the most literal depiction of Crumb’s constant consternation is a page depicting him awake in the night, staring into the darkness, eyes bulging in panic.

Page from R. Crumb, "I'm Afraid," 2025

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Courtesy the artist, Paul Morris, and David Zwirner

)

Crumb spends a lot of time ruminating in paranoia, but it’s a state of mind he also believes one must rein in. When his mind runs amok, Crumb said he does breathing exercises he learned from his daughter.

“When you're laying there in the night and you're having a panic attack, that's the only solution I know of,” he said. “That doesn't take away or change my mind, but it takes away the panic that's in your guts.”

Philosophically, Crumb is less interested in identifying a fundamental truth than he is focused on undoing fallacy.

“You want to come out on the other side of all the layers of falsehood and bulls--t and propaganda that we are constantly deluged with constantly. We're just swimming — we're up to our necks in it. So, getting past the falsehood, that's very liberating.”

You can see cartoonist R. Crumb’s latest work, "Tales of Paranoia," at David Zwirner in Los Angeles now through Dec. 20.

Topline:

The case: In September, the city settled a lawsuit brought forward by two brothers in their 70s who said they suffered serious injuries after an LAPD officer crashed into their car. Days before the $18 million settlement was reached, lawyers for the brothers said Feldstein Soto called an expert witness testifying for the plaintiffs and “attempted to ingratiate herself with him and asked him to make a contribution to her political campaign,” according to a sworn declaration to the court by the plaintiffs’ attorney, Robert Glassman.

The response: Feldstein Soto did not respond to an interview request. Her spokesperson said the settlement “had nothing to do” with the expert witness. Her campaign manager told LAist the city attorney had been making a routine fundraising call and did not know the person had a role in the case, nor that there were pending requests for her office to pay him fees.

What Jurado says: In a statement to LAist, Jurado said she wants to “make sure that the city’s legal leadership is guided by integrity and accountability, especially when their choices affect public trust, civic rights and the city’s limited resources."

What’s next: The motion needs to go through a few committees before reaching the full City Council. If it passes, the motion calls for the city attorney to “report to council in closed session within 45 days regarding the ethics breach violation and give updates to the City Council."

Every year in Santa Ana, Luis Cantabrana turns the front of his home into an elaborate altar in honor of La Virgen de Guadalupe that draws hundreds of visitors.

Along the front of the house, the multi-colored altar is filled with lights, flowers and a stained-glass tapestry behind a sculpture of the Lady of Guadalupe. Cantabrana’s roof also is lit up with the green, white and red lights that spell out “Virgen de Guadalupe” and a cross.

Visitors are welcomed with music and the smell of roses as they celebrate the saint, but this year’s gathering comes after a dark year for immigrant communities.

Luis Cantabrana stands in front of the stunning altar he built in front of his home in honor of La Virgen de Guadalupe. Every year, his display draws hundreds of visitors.

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Destiny Torres

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LAist

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Why do they celebrate? 

In 1513, the Virgin Mary appeared before St. Juan Diego between Dec. 9 and Dec. 12, asking him to build a church in her honor. Her image — a brown-skinned woman wearing a green veil with her hands together in prayer and an angel at her feet — miraculously appeared on his cloak.

To celebrate in Santa Ana, worshippers gathered late-night Wednesday and in the very early hours Dec. 12 to pray the rosary, sing hymns and celebrate the saint.

Cantabrana has hosted worshippers at his home for 27 years — 17 in Santa Ana.

The altar started out small, he said, and over the years, he added a fabric background, more lights and flowers (lots and lots of flowers).

“It started with me making a promise to la Virgen de Guadalupe that while I had life and a home to build an altar, that I would do it,” Cantabrana said. “Everything you see in photos and videos is pretty, but when you come and see it live, it's more than pretty. It's beautiful.”

The Santa Ana home's elaborate altar in honor of La Virgen de Guadalupe draws hundreds of visitors each year.

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Destiny Torres

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LAist

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Gathering in a time of turmoil 

Many also look to the Lady of Guadalupe for protection, especially at a time when federal enforcement has rattled immigrant communities.

“People don’t want to go to work, they don’t want to take their kids to school, but the love we have for our Virgen de Guadalupe,” Cantabrana said. “We see that la Virgen de Guadalupe has a lot of power, and so we know immigration [enforcement] won’t come here.”

Margarita Lopez of Garden Grove has been visiting the altar for three years with her husband. She’s been celebrating the Virgencita since she was a young girl. Honoring the saint is as important now as ever, she said.

“We ask, and she performs miracles,” Lopez said.

Claudia Tapia, a lifelong Santa Ana resident, said the Virgin Mary represents strength.

“Right now, with everything going on, a lot of our families [have] turned and prayed to the Virgen for strength during these times,” Tapia said. “She's a very strong symbol of Mexican culture, of unity, of faith and of resilience.”

See it for yourself

The shrine will stay up into the new year on the corner of Broadway and Camile Street.

California’s unemployment agency kept paying cellphone bills for 4 1/2 years without checking whether its workers actually were using the devices.

That’s how it racked up $4.6 million in fees for mobile devices its workers were not using, according to a new state audit detailing wasteful spending at several government agencies.

The Employment Development Department’s excessive cellphone bills date to the COVID-19 pandemic, when it shifted call center employees to remote work and faced pressure to release benefits to millions of suddenly unemployed Californians.

It acquired 7,224 cellphones and wireless hotspots by December 2020. State auditors analyzed 54 months of invoices since then and found half the devices were unused for at least two years, 25% were unused for three years and 99 of them were never used at all.

The investigation, which auditors opened after receiving a tip, identified 6,285 devices that were unused for at least four consecutive months, and said the department spent $4.6 million on monthly service fees for them.

From the beginning, the department had about 2,000 more cellphones than call center employees, according to the audit. The gap widened over time after the pandemic ended and the department’s staffing returned to its normal headcount.

As of April, the audit said the department had 1,787 unemployment call center employees, but was paying monthly service fees for 5,097 mobile devices.

“Although obtaining the mobile devices during COVID-19 may have been a good idea to serve the public, continuing to pay the monthly service fees for so many unused devices, especially post-COVID-19, was wasteful,” the audit said.

Department officials told auditors they were unaware of the spending, but auditors pointed to regular invoices from Verizon that showed which phones were not being used.

“We would have expected EDD management to have reconsidered the need to pay the monthly service fees for so many devices that had no voice, message, or data usage,” the audit said.

The unemployment department began acting on the auditors’ findings in April, when it canceled service plans for 2,825 devices. It has since implemented a policy to terminate service plans for devices that go unused for 90 days.

The California state auditor highlighted the mobile devices in its regular report on “improper activities by state agencies and employees.” The audit also showed that the California Air Resources Board overpaid an employee who was on extended leave as he prepared to retire by $171,000.

This article was originally published on CalMatters and was republished under the Creative Commons Attribution-NonCommercial-NoDerivatives license.