![]() ![]() This seemingly transparent subterfuge was enough to baffle lower primates such as Chicago Tribune readers, who didn’t associate “Jayzey” with “Jay” in the phone book. ![]() ![]() In order to confound crank phone callers angered by his cartoons, he began signing himself “Jayzey” Lynch. Crumb’s Zap inspired them to abandon the Mirror and start an underground comic book, which they named Bijou, after the movie theatre. In 1967 he and Williamson started an underground magazine called the Chicago Mirror. ![]() With the rise of the underground press in the late ’60s, Lynch moved on to the Chicago Seed newspaper where he introduced his most famous characters, Nard and Pat. By 1965 he had appeared in the “Public Gallery” section of Kurtzman’s Help! and had written for Cracked. While at the Art Institute his cartoons appeared in the notorious college humor magazines Aardvark and Charleton. A compulsive cartoonist since early childhood, his first published work appeared in Don Dohler’s fanzine Wild (as did Williamsons). Lynch was born in East Orange, New Jersey, in 1945 and studied at the Art Institute of Chicago. The best-remembered issue was probably the full-color #8, which featured a cover by Harvey Kurtzman and parodies of underground comics in the manner of the early Mad. Bijou’s Funnies, which he edited, was second only to Zap as an underground anthology. Jay Lynch held down the Chicago end of the underground comics movement. From the TCJ Archives The Jay Lynch Interview, 1987įrom The Comics Journal #114 (February 1987) ![]()
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