Rolland “Rolly” Crump is a Disney legend. Originally working as an assistant animator under Uncle Walt himself in the early 1950s, Crump performed “in betweener” work on Disney classics like Peter Pan, Lady and the Tramp, 101 Dalmations, and Sleeping Beauty.

In 1959 Crump joined Walt Disney Imagineering, becoming one of Walt Disney’s key designers for Disneyland. He worked on the Haunted Mansion, the Enchanted Tiki Room and the Adventureland Bazaar. Crump served as key designer on the Disney pavilions featured at the 1964-65 New York World’s Fair, including “It’s A Small World.” When that attraction was given a permanent home at Disneyland, Crump added the iconic puppet children clock at the entrance. He was also one of the lead designers on a Disneyland attraction that was shelved after Disney’s death, The Museum of The Weird.

During his long and illustrious career, Crump contributed to the designs for Walt Disney World, Busch Gardens and the Ringling Bros. and Barnum & Bailey Circus World, before returning to Disney to project design “The Land” and “Wonders of Life” pavilions at EPCOT Center. Now 81 and still going strong, in 2004 Crump was given a Disney Legends Award.

But back in 1960, Rolly Crump made a series of whimsical and delightful posters depicting Beatniks and their predilection for drugs. Made for poster pioneer Howard Morseburg’s Esoteric Poster Company, Crump worked for Morseburg until 1964, also turning out posters satirizing Communism, Cuba and the Soviet Union. Some of these posters were discovered again and are for sale via Crump’s Zazzle store.
 

 

 

 

 
Thank you Taylor Jessen!

These are intense.

I am amused by “Kauphy House” for obvious reasons.

Wow, this totally must be the artist behind the ancient Greek sequences of “Donald in Mathemagic Land.”

Such great stuff.

So called “old timers” in the animation biz are so cool in many ways.

Interesting piece.  One issue, though.  Walt Disney had not animated anything since the 1920s - Crump, as an inbetweener, would not have been working directly with him, or even under him.  He would have been working with whatever key animator he was inbetweening for - and maybe the director, on occasion.

Great stuff just doesn’t cover it…

Nice discovery, very cool, but style-wise, it feels off as well, professionally and spiritually a bit closer to a Disney perfection rather than say, early MAD magazine anarchic satire. But incredibly funny to find now.

Hmmm….

So this explains the crazy artwork he had in Knott’s Bear-y Tales, A ride he worked on in 1973-75 for Knott’s Berry Farm.