Lifestyle
How to see the lost art of rebel Disney imagineer Rolly Crump in L.A.
Rolly Crump had an outsized reputation. A rebel in the Disney fold. A beatnik. An unapologetic tell-it-like-it-is you-know-what.
Crump, who died last year at the age of 93, also forever changed the look of Disneyland. His art can be found in the Enchanted Tiki Room and, along with close friend and fellow artist Mary Blair, throughout It’s a Small World.
Crump’s style possessed a larger-than-life whimsy and circus-like loudness, and it caught the eye of Walt Disney, who plucked Crump from animation and one day assigned him what would become arguably the most recognizable clock in Southern California. The timepiece is the anchor of the façade of Disneyland’s It’s a Small World.
Rolly Crump designed a poster for West Hollywood folk club the Unicorn. The poster is part of a new exhibition dedicated to showing off Crump’s early work.
(From Christopher Crump)
This week, an assortment of Crump’s lesser-known personal work will be on display at West Hollywood gallery Song-Word Art House. The show, dubbed “Crump’s The Lost Exhibition,” is curated by Rolly’s son, Christopher, who followed in his father’s footsteps to work for Walt Disney Imagineering, the division of the company responsible for theme park design. “The Lost Exhibition” will draw heavily on Crump’s late-1950s and early-1960s work, specifically his series of folk-house-inspired, rock ’n’ roll-style posters.
The event is open to the public Friday through Sunday, and the gallery is near the original location of one of Crump’s old hangs, folk club the Unicorn. A poster Crump drew for the venue will be a centerpiece of the exhibit. Christopher cites the freewheeling nature of the ’50s folk scene as a large influence on his father’s art, which had the sort of bold colors and intricate, line-heavy work one sees in a tattoo parlor.
Other posters show off Crump’s acidic yet silly sense of humor, such as what he called his “dopers,” that is, art that humorously celebrated drugs in the style of Beat generation barroom posters (“Be a man who dreams for himself,” reads a painting cheerleading opium).
Outside of his work at Disney, Crump continued to work on eccentric Pop art throughout his career. A comic strip-inspired 1967 poster for psychedelic rock group the West Coast Pop Art Experimental Band belongs to the collection of New York’s Museum of Modern Art. A print will be shown at Song-Word.
Crump stayed with Disney through 1970, although he would return multiple times before retiring in 1996. He also designed an attraction for Knott’s Berry Farm, briefly ran his own design firm and had a short-lived store, Crump’s, dedicated to his art. In 2017, Crump had a postcareer exhibition at the Oceanside Museum of Art, but Christopher sees “The Lost Exhibition” as a chance to explore his father’s lesser-known early work, before Crump would work on such attractions as the Haunted Mansion and It’s a Small World, the latter of which had its premiere at the 1964 World’s Fair.
“This is a personal thing for me,” Christopher says. “This is the exhibition that never happened. He should have done this. He should have had more gallery shows. The only real gallery stuff was when he had the Crump’s shop on Ventura Boulevard, but he never had a formal gallery show.”
Christopher, who will be on hand all three days to share tales about his father, spoke to The Times about the show. This interview has been edited for length and clarity.
Rolly Crump in his shop, Crump’s, which son Christopher said was a short-lived operation on Ventura Boulevard.
(From Christopher Crump)
Your dad started working for the Walt Disney Co. in 1952. You were born in 1954. This exhibit places a particular emphasis on artwork from that era. When did you first become aware of your father’s work?
He was drawing all the time. He supported me as a model maker, and I had a desk and tools and he bought me kits. I started building models when I was 6 years old. I watched him draw. But later, I recognized that this huge body of work of his, he was doing all the time. He hung out with [animator-artist] Walter Peregoy a lot. Walter Peregoy would get up at 4 a.m. and draw and paint. And that started hitting me. Dad had two jobs — he was working in animation and he was working in construction on the weekends, and he was knocking out all this artwork and mobiles. When someone calls themselves an artist, they don’t have a choice. It is constant. It is all the time.
You have to also think about culture. Dad wasn’t changing diapers, cooking, cleaning and washing up and all that stuff. Men didn’t do that. It wasn’t like there was something wrong with him, but it wasn’t until later where it was like, “Hey, Dad, you have to help out with the chores.” Whatever the hell Dad wanted to do, he’d do it, so in Dad’s case, he would paint, draw, sculpt and make mobiles. He was going to keep satisfying that itch of having to do that stuff.
And everybody would help. My mom did a lot of painting on my dad’s stuff. He drew it, and said, “Paint that red. Paint that green.” I remember doing colors on paintings, and this was in the early to mid ’60s. We were all part of Dad’s little art machine.
In collecting this poster art, what impresses you today? What do you appreciate about the personal work he was doing while working in animation? I remember your dad saying he felt insecure as an animator.
A Rolly Crump-designed poster that’s part of an exhibition of the artist’s early work.
(From Christopher Crump)
These [animation] artists — Walter Peregoy, Dale Barnhart, Frank Armitage, and of course, Ward Kimball and Marc Davis — these guys were all amazing. Dad would say, “I knew how to use a pencil.” He could draw, but he had no formal education in the arts. These guys influenced him and he learned from them, but he needed to find his voice. I captured an interview recently — somebody sent it to me — of him giving a talk, and Dad told this great story about wanting to learn how to paint, to become an artist. He was trying to mimic Walt Peregoy’s style, and it wasn’t working. He was getting really frustrated.
He talked about going to an art show at the studio, and he saw a piece of a bunch of gargoyles sitting on a log flying kites. And the light bulb went off. He said, “I can do that.” Dad’s got a funky sense of humor, and the animation world was all about getting people to laugh, so he went home and he painted lobsters drinking martinis. And that was the first painting he did where he took the idea of telling a little story and making sure it was funny. That kick-started him.
What I’ve always loved about your father’s personal work is that there’s a free-flowing nature to it. You see that even in the poster for the Unicorn. It feels improvised, jazzy.
And what I think, and I’ve heard him say this, he was always looking for something different, and then to put some twist on it. When you think about the folk era, when it was really hot — burning hot — it was hobos on freighters writing songs about social injustice. These were “stick it to the man” people. All these things influenced him — the idea of folk music and freedom of expression.
Rolly Crump in 1957, when the artist was working in animation at the Walt Disney Co.
(From Christopher Crump)
Like, there was no way he could paint like those other guys. But he found his voice, and these posters became more satirical. It’s kind of mock advertising but very tongue-in-cheek. I’ll be playing a soundtrack of a lot of the music Dad had in his collection at home. So it’s a 4½-hour compilation of Miles Davis, Nina Simone, Peter, Paul and Mary, Quincy Jones, Harry Belafonte, Wes Montgomery — all the stuff we listened to the house or I heard in his Porsche listening to the jazz station.
How do you connect what we’ll see in this show with his best-known Disney work on It’s a Small World or the Enchanted Tiki Room?
Because he was drawing every day, his line work, his composition, his technical chops as an artist got better. That led to how he was able to come up with stuff in the Tiki Room, the toys in Small World. He didn’t wake up and roll out of bed one morning and become really good. There was a gradual development of who he was. Then he got to a confidence level. He knew who he was and he was unapologetic about it.
“Crump’s The Lost Exhibition”
He started watching how Walt [Disney] behaved and he found his groove with Walt. He waited a few years before he really started becoming opinionated, and then once Walt started listening to him, it annoyed all the other Imagineers. They were all singing and dancing. “Whatever Walt wants.” Rolly wasn’t a dancer. How could this crazy beatnik character be Disney? It’s like musicians. It’s the chops. You mentioned the jazz thing — jazz is about improvisation. Jazz is about going with however the flow is going and following your crazy ideas. Walt believed in Dad’s crazy ideas.
And yet those crazy ideas helped define the tone of Disneyland. Modern theme parks are very much aligned with the look of film and television, yet there are multiple times, say, on It’s a Small World, where it’s very clear what Rolly’s influence was.
My wife didn’t know much about Disney. She rides It’s a Small World — and my dad had been doing birthday cards and Christmas cards — and she looked up at It’s a Small World and said, “Oh my God, it’s my father-in-law.” And that’s kind of my thought. This was all developed and worked out, and by the time the World’s Fair hit, and the ’60s hit, he had a good eight or nine years of messing around, and now he’s blossoming. Now he’s got a stage to work on.
So I’m talking about the ’50s and early ’60s before all that. What was it that happened to him that developed him and developed his confidence to be able to be that big-time guy?
It’d be like in music. He played a lot of little clubs before he hit the big stages. My vibe is to just kind of have people remember how artists become what they become.
Kylie Jenner
Cosmic Cleavage …
Flaunts Boobs While Pushing New Fragrance
Published
Kylie Jenner‘s full-bodied new fragrance is out … and, she’s using her bust to promote it — pushing up her cleavage for the ad.
The model posed in the sleeveless red leather top which perfectly matched the fragrance bottle she held against her head.
Waiting for your permission to load the Instagram Media.
The star’s looking away from camera … though we imagine if she could see fans looking at the pic, she might tell them her eyes were up about a foot or so!
She captioned the post by telling fans the new smell is called COSMIC INTENSE … a spin-off of her original “COSMIC” which feels “warmer, creamier, and even more addictive.”
KJ’s gotta promote the perfume now because she’s not going to have much time to work on her business in upcoming weeks … as we imagine she’ll attend every awards show with her man, Timothée Chalamet.
As you know … Chalamet got handsy with Jenner shortly after winning the Critics Choice Award for Best Actor — grabbing her backside while sitting in the audience. He’d just said he loved her in his acceptance speech as well.
Maybe Chalamet will grab a bit of her cosmic cleavage if he wins a Golden Globe this weekend!
A view of the John F. Kennedy Center for the Performing Arts, which the current board is calling the Trump Kennedy Center, in Washington, DC, on Dec. 26, 2025.
Brendan Smialowski / AFP via Getty Images
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Brendan Smialowski / AFP via Getty Images
The Washington National Opera is leaving the John F. Kennedy Center for the Performing Arts, its home since 1971.
Friday’s news, shared with NPR in a statement via email from the opera company, comes in response to new policies which the 70-year-old performing arts group said strain its financial model.
The Washington National Opera stressed the “amicability” of its decision to end its longtime residency at the Kennedy Center. But it said the center’s new business model, which requires productions to be fully-funded in advance, is incompatible with the usual mix of ticket sales, grants and donations that cannot all be secured ahead.
“Opera companies typically cover only 30-60% of costs through ticket sales, with the remainder from grants and donations that cannot be secured years ahead when productions must be planned,” the statement said.
The company added the model also does not accommodate its artistic mission, which aims to balance popular works such as West Side Story, slated for May 2026, with more obscure and experimental operas, such as the little-known Scott Joplin work, Treemonisha, scheduled for March. “Revenue from major productions traditionally subsidizes smaller, innovative works,” the statement said.
Artistic director Francesca Zambello, who has led the company for 14 seasons, shared her regrets in a statement with NPR, while also looking to the future.
“I am deeply saddened to leave the Kennedy Center,” Zambello said. “In the coming years, as we explore new venues and new ways of performing, Washington National Opera remains committed to its mission and artistic vision. Our repertory will continue to include diverse offerings, from monumental classics to more contemporary works, presented in bold visual productions with first-class musical values.”
In addition to a continued presence for now on the Kennedy Center website, the opera company launched its new independent website within a few hours of its announcement.
“After careful consideration, we have made the difficult decision to part ways with the Washington National Opera due to a financially challenging relationship,” the Kennedy Center wrote in an email to NPR on Friday. “We believe this represents the best path forward for both organizations and enables us to make responsible choices that support the financial stability and long-term future of the Trump Kennedy Center.”
On social media, Kennedy Center executive director Richard Grenell said it was the center’s decision to sever ties with the opera company — and not the other way around.
“The Trump Kennedy Center has made the decision to end the EXCLUSIVE partnership with the Washington Opera so that we can have the flexibility and funds to bring in operas from around the world and across the U.S.” Grenell said. “Having an EXCLUSIVE relationship has been extremely expensive and limiting in choice and variety.”
Grenell reposted his message on Saturday after he was alerted that his X.com account had been hacked and the original message had been removed.
President Donald Trump was named chairman of the Kennedy Center’s board in February 2025. His name was added to the Kennedy Center in December following a vote by the Trump-appointed members of its board. Since the power of the venue’s board to rename the center is currently in dispute, NPR continues to refer to the Kennedy Center using its legal name.
A string of exits
The Washington National Opera’s departure is the latest and perhaps most significant in a string of artist exits from the cultural institution since Trump took over the institution.
Backlash from ticket-buyers, slated performers, and certain board members—including Shonda Rhimes—was swift.
Artists are continuing to cancel performances. But one of the first to do so was a touring production of the musical Hamilton. In a statement on X in March 2025, producer Jeffrey Seller said he opposed the Trump administration’s ousting of many Democratic board members.
“The recent purge by the Trump Administration of both professional staff and performing arts events at or originally produced by the Kennedy Center flies in the face of everything this national center represents,” wrote Seller.
Actress and writer Issa Rae followed suit with a post on Instagram, cancelling her sold-out March performance.
A slew of additional artists and performance companies canceled after the board’s vote to rename the center “The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts.” Congress has not yet authorized the name change.
Grenell has responded to many cancellations on social media, condemning the artists. After Banjo player Béla Fleck canceled his performance because he said the center had become “political,” Grenell wrote on X, “You just made it political and caved to the woke mob who wants you to perform for only Lefties.
“This mob pressuring you will never be happy until you only play for Democrats. The Trump Kennedy Center believes all people are welcome—Democrats and Republicans and people uninterested in politics. We want performers who aren’t political—who simply love entertaining everyone regardless of who they voted for.”
Find a running list of these cancellations below.
Sonia De Los Santos
On Jan. 8, singer-songwriter Sonia De Los Santos announced on Instagram that she was canceling her upcoming February concert at the Kennedy Center. “As an artist,” wrote De Los Santos, “I treasure the freedom to create and share my music, and for many years I have used this privilege to uplift the stories of immigrants in this country.”
De Los Santos, who was nominated for a Latin Grammy for best children’s album in 2018, stated that “I do not feel that the current climate at this beloved venue represents a welcoming space for myself, my band, or our audience.”
Béla Fleck performs onstage during the 67th Annual Grammy Awards Premiere Ceremony at Peacock Theater on Feb. 2, 2025 in Los Angeles.
Leon Bennett/Getty Images for The Recording Academy
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Leon Bennett/Getty Images for The Recording Academy
Béla Fleck
Performing at the Kennedy Center “has become charged and political, at an institution where the focus should be on the music,” wrote American banjo player Béla Fleck about his scheduled appearance with the National Symphony Orchestra in an official statement posted to Instagram on Jan. 7. “I have withdrawn from my upcoming performance with the NSO at The Kennedy Center,” he wrote. “I look forward to playing with the NSO another time in the future when we can together share and celebrate art.”
The 18-time Grammy winner has performed at the Kennedy Center in the past.
Stephen Schwartz
The composer and lyricist for the beloved musicals Wicked, Godspell and Pippin was expected to host a gala fundraiser for the Washington National Opera in May 2026. On Jan. 2, Schwartz announced his withdrawal. According to NBC News, Schwartz reflected that the Kennedy Center was “founded to be a political home for free artistic expression for artists of all nationalities and ideologies.” Today, he said, making an appearance “has now become an ideological statement.”
Richard Grenell quickly responded to Schwartz’s withdrawal, calling it a “bogus” report in a statement posted on X and saying reporters were plagiarizing a “fake @RollingStone story.” Schwartz was “never signed,” Grenell wrote.
Reports from NBC and other outlets, including Variety, have refuted this claim, publishing screenshots showing that Schwartz was promoted on the Kennedy Center’s website prior to his cancellation.
Stephen Schwartz attends the 2025 Songwriters Hall Of Fame Induction Ceremony at Marriott Marquis Times Square on Jun. 12, 2025 in New York City.
Theo Wargo/Getty Images for Songwriters Hall Of Fame
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Theo Wargo/Getty Images for Songwriters Hall Of Fame
The Cookers
The seven-piece band of veteran jazz musicians announced shortly before Dec. 31 that they would not perform at the Kennedy Center for “A Jazz New Year’s Eve:”
“We know this news is disappointing,” reads the statement on their website. “We are not turning away from our audience, and do want to make sure that when we do return to the bandstand, the room is able to celebrate the full presence of the music and everyone in it. Our hope is that this moment will leave space for reflection, not resentment.”
The statement went on to say, “We remain committed to playing music that reaches across divisions rather than deepening them.”
Chuck Redd
The American jazz drummer and longtime host of the Kennedy Center’s annual Christmas Jazz Jam chose to cancel his 2025 appearance when he “saw the name change on the Kennedy Center website and then hours later on the building,” according to a statement sent to the Associated Press.
On Dec. 27, the Kennedy Center announced its plan to file a $1 million lawsuit against Redd. “Any artist canceling their show at the Trump Kennedy Center over political differences isn’t courageous or principled—they are selfish, intolerant, and have failed to meet the basic duty of a public artist: to perform for all people,” said Kennedy Center spokesperson Roma Daravi.
In a letter shared with NPR, Richard Grenell condemned Redd: “Regrettably, your action surrenders to the sad bullying tactics employed by certain elements on the left, who have sought to intimidate artists into boycotting performances at our national cultural center.”
Doug Varone and Dancers
“The renaming for me has kind of pushed me off a cliff,” said choreographer Doug Varone on Dec. 31, when he spoke with NPR’s Morning Edition. Varone, who was set to showcase members of his Doug Varone and Dancers company at the Kennedy Center in April 2026, pulled the performance.
John F. Kennedy, for whom the Kennedy Center was established as a living memorial, “believed in the arts as kind of the beating heart of our nation,” said Varone.
“I believe that the level of artistry has dropped drastically since the administration change, and the employees that were responsible for the quality of the work at the center have all been let go.”
After canceling, the company started a crowdfunding campaign to help offset its financial loss. It raised over $42,000, exceeding its $40,000 goal.
Magpie
In a statement posted to Facebook on Jan. 5, Greg Artzner of the American folk duo Magpie announced the decision to pull their Feb. 28 concert, set to play on the Kennedy Center’s Millennium Stage.
“There isn’t really anything defensible” about Trump, said the statement from Artzner and Magpie’s Terry Leonino. Although they had planned an evening of songs with messages of unity and hope, “We are personally and philosophically in agreement with the belief underlying the growing boycott,” they said. “The stand being taken by fellow artists we respect and admire has created a moral picket line. We stand with them in solidarity.”
An update on Jan. 9 said that Magpie would now be performing a longer version of that concert on Feb. 21 at Seekers Church in Washington, D.C., now called, “The Traveling John F. Kennedy Center for the Performing Arts Restoration Roadshow.”
Kristy Lee
Folk singer Kristy Lee canceled her Jan. 14 Kennedy Center performance due to “recent efforts to impose political branding on the Center,” according to a statement posted on her website.
“Public arts spaces should be free from political influence,” Lee said in her statement. “I step back out of respect for artistic freedom and the Kennedy Center’s founding mission, not in opposition to its staff, artists, or audience.”
On Jan. 14, Lee plans to host a live-streamed concert instead, titled “Showing Up: From the Kennedy Center to the Couch.”
Low Cut Connie
Philadelphia rock and roll band Low Cut Connie pulled their concert, set for February 2025, “Upon learning that this institution that has run non-partisan for 54 years is now chaired by President Trump himself and his regime,” according to a statement posted on their Facebook page.
“Maybe my career will suffer from this decision,” wrote band frontman Adam Weiner, “but my soul will be the better for it.”
Rhiannon Giddens
In Feb. 2025, folk singer Rhiannon Giddens announced her departure from the Kennedy Center lineup in a social media statement. “I cannot in good conscience play at The Kennedy with the recent programming changes forced on the institution by this new board,” wrote Giddens.
Giddens transferred her May 11 concert, “Old-Time Revue,” to The Anthem concert hall, also in Washington, D.C.
Balún
The Puerto Rican band, based in Brooklyn in New York City, canceled their Kennedy Center performance, which had been set for Feb. 27, 2025.
According to a statement posted to Balún’s Instagram account, “recent events made it clear that the space no longer aligns with our values. Our safety, integrity, and commitment to justice come first.”
Issa Rae attends HBO’s final season premiere of “Insecure” at Kenneth Hahn Park on Oct. 21, 2021 in Los Angeles, California.
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Kevin Winter/Getty Images
Issa Rae
“Thank you so much for selling out the Kennedy Center for ‘An Evening With [Me],’” wrote Issa Rae, the acclaimed star and creator of HBO’s Insecure, on her Instagram stories page in Feb. 2025. “Unfortunately, due to what I believe to be an infringement on the values of an institution that has faithfully celebrated artists of all backgrounds through all mediums, I’ve decided to cancel my appearance at this venue.”
“Hamilton”
In March 2025, Hamilton producer Jeffrey Seller announced on X that the Tony-award winning musical phenomenon would no longer run as scheduled at the Kennedy Center. According to the statement, the decision was made both for political and for business reasons. Not only was there “a new spirit of partisanship,” the statement read in part, but “it would be “financially and personally devastating to the employees of Hamilton if the new leadership of the Kennedy Center suddenly canceled or re-negotiated our engagement. The actions of the new Chairman of the Board in recent weeks demonstrate that contracts and previous agreements simply cannot be trusted.”
The Kennedy Center was swift to respond to Hamilton‘s cancellation. On X in a now-deleted post, Richard Grenell accused Hamilton star and creator Lin Manuel-Miranda of being “intolerant of people who don’t agree with him politically,” and stated that the decision was “a publicity stunt that will backfire.”
In the months since the show’s cancellation at the Center, Hamilton has continued to sell out theaters on Broadway and in venues nationwide who host its North American touring company.
U.S. Marine Band
The U.S. Marine Band announced in February 2025 that the Marine Band would not perform in the Equity Arc Wind Symphony event, a collaboration between Marine Band members and selected high school musicians.
The U.S. Marine Band, known also as “The President’s Own” was founded by an Act of Congress in 1798, making it the country’s oldest professional music organization.
Composer Kevin Charoensri, whose music had been scheduled to be performed by the band at the event, stated in a Facebook post that Diversity, Equity, and Inclusion (DEI) orders resulted in the cancellation of the Equity Arc concert:
“It has come to my attention that the program, one based on equity and diversity of voices, is no longer supported at the federal level under this administration,” Charoensri wrote. “It was for this reason that the program and performance were canceled.”
The U.S. Marine marching band performs in the 120th Tournament of Roses Parade January 1, 2009 in Pasadena, California.
Alberto E. Rodriguez/Getty Images
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Alberto E. Rodriguez/Getty Images
Jennifer Vanasco edited this story.
Happy new year! I’m Jaclyn Cosgrove, an outdoors reporter at the L.A. Times.
The deluge of rain and snow has paused, and the sun is out in Los Angeles. It’s a beautiful time for a winter hike in L.A. County.
I’d love for you to join me and Times wellness writer Deborah Vankin, alongside our friends at Zócalo Public Square, at 9 a.m. Jan. 31 as we hike through Placerita Canyon Natural Area, an east-west canyon east of Santa Clarita with lush oak woodland, chaparral and a seasonal creek.
We will start our trek with a gentle stroll to the Oak of the Golden Dream, where the first authenticated gold discovery by colonizers took place in California in 1842.
Then Vankin and I will lead 40 hikers along Canyon Trail, which will be 3.6 miles round trip. The hike includes an area where natural “white oil” bubbles up from the earth, which locals reportedly used to collect to fill their Ford Model T fuel tanks.
Parking is free and easy. We will meet in front of the Placerita Canyon Nature Center (19152 Placerita Canyon Road in Newhall).
We will have water bottles and snacks for attendees, but you’re also welcome to bring your own. You must be 18 or older and will be required to sign a waiver prior to attending. (Please consider arriving 15 minutes early to leave time for waiver signing.)
Grab a spot on Tixr.
Note: The hike will be rescheduled if rain is in the forecast.
A winter hike with the Los Angeles Times and Zócalo Public Square
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