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Limbaugh Apologizes For 'Slut' Comment

Outspoken radio talk show host Rush Limbaugh (click there to view our recent Rush Limbaugh cartoons) has apologized for referring to Georgetown University law school student Sandra Fluke, who is in favor of mandatory employer health coverage of contraception, as a “slut” and a “prostitute.”

Over the past couple of days Limbaugh has lost several of his advertisers over the controversy, including mattress manufacturers Sleep Train and Sleep Number, Quicken Loans and LegalZoom.

Here is Limbaugh’s full apology:

For over 20 years, I have illustrated the absurd with absurdity, three hours a day, five days a week. In this instance, I chose the wrong words in my analogy of the situation. I did not mean a personal attack on Ms. Fluke.

I think it is absolutely absurd that during these very serious political times, we are discussing personal sexual recreational activities before members of Congress. I personally do not agree that American citizens should pay for these social activities. What happened to personal responsibility and accountability? Where do we draw the line? If this is accepted as the norm, what will follow? Will we be debating if taxpayers should pay for new sneakers for all students that are interested in running to keep fit?In my monologue, I posited that it is not our business whatsoever to know what is going on in anyone’s bedroom nor do I think it is a topic that should reach a Presidential level.

My choice of words was not the best, and in the attempt to be humorous, I created a national stir. I sincerely apologize to Ms. Fluke for the insulting word choices.

He doesn’t sound very sorry to me.  Here is my most recent cartoon on Rush’s apology.

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Santorum feeds hungry Republicans

Here’s my newest cartoon about everyone’s favorite birth control warrior, former Pennsylvania Senator and Presidential Candidate Rick Santorum (view more Rick Santorum cartoons here). For a man who not afraid to tell voters what’s on his mind (no matter how looney), Santorum now regrets saying he wanted to “throw up” after watching John F. Kennedy’s speech to Baptist ministers in Houston in 1960.

Just for the record, here’s what Kennedy said in his speech:

I believe in an America that is officially neither Catholic, Protestant nor Jewish; where no public official either requests or accepts instructions on public policy from the Pope, the National Council of Churches or any other ecclesiastical source; where no religious body seeks to impose its will directly or indirectly upon the general populace or the public acts of its officials; and where religious liberty is so indivisible that an act against one church is treated as an act against all.”

Wow, Kennedy didn’t want The Pope to control American politics. Harsh.

You see, Santorum wanted to hurl because despite what our Constitution says, he doesn’t believe in an America where the separation of church and state is absolute.

“The idea that the church can have no influence or no involvement in the operation of the state is absolutely antithetical to the objectives and vision of our country,” Santorum said on Sunday.

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Five Frothy Rick Santorum Cartoons

It’s make-or-break time for Rick Santorum (who still can’t escape the infamy of his last name on Google). The culture warrior has risen in popularity among the Republican base by throwing out red meat pertaining to religion, birth control and slamming the president’s value system as a “phony theology.”

Can Santorum not only win the GOP nomination, but somehow unseat President Obama from office? Our cartoonists sure don’t think so. Here are five recent cartoons that sum up their thoughts…

David Fitzsimmons / Arizona Daily Star (click to view more by Fitzsimmons)
John Cole / Scranton Times-Tribune (click to view more cartoons by Cole)
Jeff Parker / Florida Today (click to view more cartoons by Parker)
Adam Zyglis / Buffalo News (click to view more cartoons by Zyglis)
Jimmy Margulies / The Record (click to view more cartoons by Margulies)

Click here to view more Rick Santorum cartoons

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Jeremy Lin Cartoons

Our cartoonists don’t draw many sports cartoons, but when a great story enters the zeitgeist, they sharpen their pencils and dig in. Jeremy Lin, the out-of-nowhere star player for the Knicks, has almost single-handedly reversed the fortunes of his team.

Check out what our cartoonists think of Linsanity with our new collection of Jeremy Lin cartoons!

Taylor Jones / Cagle Cartoons (click to view our Jeremy Lin cartoons)
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Whitney Houston RIP Cartoons

As everyone knows by now, talented musician Whitney Houston was found dead in her Los Angeles hotel room on Saturday afternoon.

It’s tough to sum up someone’s life in one, single image. Check out what our cartoonists came up with in our Whitney Houston RIP cartoon collection.

Cam Cardow / Ottawa Citizen (click to view our Whitney Houston cartoons)
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Different Takes on Death of Whitney Houston

Last night, many people were shocked to discover that famed by troubled singer Whitney Houston was found dead in her Los Angeles hotel room yesterday afternoon. Some cartoonists have been quick to respond, and while the first wave of obituary cartoons about famous celebrities are usually very positive, today’s cartoons seem to have run the gamut of emotions about the talented singer who wrestled with drug addiction most of her career.

It’s also interesting to note that all of the cartoons that have come in to so far have been from international cartoonists, which speaks to the degree of fame Houston achieved in her career.

First, is the typical nice, uncontroversial remembrance cartoon that most readers seem to enjoy, drawn by Australian cartoonist Peter Broelman:

Click to share cartoon

Next is a cartoon that attempts to access both the good and bad of Houston’s troubled career, drawn by another Australian cartoonist, Peter Lewis:

Click to share cartoon

Finally, is a cartoon by South African cartoonists Jeremy Nell that goes right for the jugular by tackling Houston’s drug addiciton head on.

Click to share cartoon

Which cartoon do you prefer?

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The New York Times Cartoon Kerfuffle

There was a “cartoon kerfuffle” this week as The New York Times announced that they would begin running traditional editorial cartoons again, in an email invitation to selected, top political cartoonists. It was good news that one of America’s biggest newspapers would again embrace our art form, but their offer was so lousy it only made the cartoonists angry.

What The Times proposed was having all the best cartoonists submit finished cartoons to them on Fridays, for publication in their Sunday edition. The Times wanted the cartoons to be exclusive to them; the cartoons could not be reprinted elsewhere. The Times would pick one of the cartoons and pay the winning cartoonist a paltry $250, sending him an exclusive contract only after he wins the selection contest; the dozens of losing cartoonists would get nothing. Of course, the cartoonists reacted to this offer with disgust, and the Internet has been buzzing with cartoon disdain for the arrogant New York Times the past few days.

The Times is arguably the most prestigious newspaper, and they have been without a staff editorial cartoonist for many decades – a sore spot for our beleaguered editorial cartooning profession which has been losing jobs at about the same rate as newsroom journalists, as newspapers’ fortunes have declined. Before dropping editorial cartoons entirely, The Times ran a weekly “round-up” of syndicated cartoons under the title, “Laugh Lines,” in which they selected funny cartoons that were like Jay Leno jokes, expressing no strong opinion, but good for a smile. Cartoonists suspected that the new cartoon in the Times would be the same, encouraging cartoonists to compete for The Times’ favor by submitting opinionless, funny cartoons that would further “dumb-down” the profession. The Times would also remove the artist’s signature from their editorial cartoons, an annoyance to the cartoonists.

Newspapers have gotten used to the idea that editorial cartoons are cheap, because of “syndication” where cartoonists distribute their cartoons to hundreds of newspapers through “syndicates” (businesses that charge very little for the cartoons). But syndication is no extra work for the cartoonist, distributing only cartoons that the cartoonist has already drawn for his own newspaper, and the syndicated cartoons are “non-exclusive,” that is, they can be purchased and reprinted anywhere, unlike The New York Times proposal for exclusive cartoons for only $250, with a contest between cartoonists who would spend time submitting and making changes for The Times’ editors, with only one cartoonist having his work printed and getting paid.

It is a sign of our times, of how far our cartooning profession has fallen, and of how callously editors have devalued our work that the Times would solicit cartoons under these conditions – and also a sign of how arrogant The New York Times has become, to assume that top cartoonists would participate. There has been some blowback, with prominent cartoonists writing letters to The Times dissing the offer and refusing to participate; one of my favorites came from award-winning Canadian cartoonist Cam Cardow who wrote:

“I suggest you take this idea back to the boardroom from which it was birthed and have it reconsidered. I would also humbly suggest that your editors take an afternoon off and head to the local library to study the contributions editorial cartooning has made to journalism and society. For one, you’ll be surprised to find out professional cartoonists don’t live in trailer parks, or panhandle at malls. Some of us even have all our teeth. Well, we Canadian do.”

I’m told that The Times is now “revisiting the policy.” I have a few suggestions for The Times:

1. Try reprinting the best syndicated cartoons again, with signatures of the artists in place, and without the title, “Laugh Lines,” so that cartoons which make a reader cry or think might get equal play in The Times as the little jokes.

2. Or, if you want an exclusive cartoon, trust one cartoonist and pay him or her fairly. Find someone whose point of view is in line with The Times’ editorial stance; commit to that cartoonist and give him the same freedom that you do with your columnists. After all, editorial cartoonists are graphic columnists, except that our work is more powerful than the words of columnists. Nobody tears out a column and sticks it to their refrigerator.

Added February 9, 2012:

I was pleased to read this letter from National Cartoonists Society President, Tom Richmond, to the New York Times today, opposing their editorial cartoon scheme. Visit Tom’s blog to read more of his comments surrounding the NCS position on the issue.

Ms. Aviva Michaelov
Art Director, New York Times
Opinion Pages | Sunday Review

Dear Ms. Michaelov,

I read with mixed emotions your letter of February 6th to a selection of professional editorial cartoonists calling for submissions for a new editorial cartoon feature in the Sunday Review section of the New York Times.

On one hand, I was pleased to see that the Times was bringing back an editorial cartoon to the Sunday Review. In this day of dwindling editorial cartoon voices in the press, such an addition, particularly in a publication as respected and read as the New York Times, is very welcome.

I was dismayed, however, in the way in which the cartoons were to be submitted, chosen and paid for. The editorial cartoonists are expected to submit finished cartoons completely on spec, and your editorial staff will chose one for publication each week. The submitting cartoonists are to agree that, if chosen, their cartoon becomes an exclusive to the Times, not to be reprinted anywhere. The cartoonist who’s work is chosen gets paid $250, and those who do not get chosen get nothing.

The work of creative professionals today is under siege, being constantly devalued through a multitude of fronts, not the least the internet. Writers, artists, cartoonists, designers and other creatives who are attempting to make a living with with their talents and hard work face increasing assaults by “clients” who seem to expect them to do work for either very little pay, or only the hope of being paid. Being asked to do spec work is nothing new in the cartooning world, but when it comes from a publication like the New York Times and it is specifically aimed at some of the industry’s top professionals, it is alarming.

The Times is arguably the most well-known and prestigious newspaper in the United States. It should be championing and supporting the work of the industry’s top professionals in all facets of journalism—reporters, columnists, feature writers, editorialists, and—yes . . . cartoonists. An initiative like this does the opposite. It contributes to the devaluation of the work of editorial cartoonists not just in the offer of extremely low pay and the submission of finished work without the expectation of ANY pay, but in the very nature of editorial cartoons as an individual voice of real opinion. Editorial cartoonists are visual columnists who have specific voices, and “competitions” like this discourage that individuality while encouraging the pursuit and of whatever joke might give the jury the biggest chuckle of the week. To stage such a competition among an amateur public would be one thing, to ask a specific group of well-established and professional editorial cartoonists to do it is quite another. That is a slap in the face to their work and profession.

While I applaud your desire to once again feature individual editorial cartoons in the Times, I sincerely hope you will rethink this approach. It would behoove the Times to conduct a search among the countries best editorial cartoonists for one that has a voice that is in keeping with the editorial position of your newspaper, and then commission them to produce a weekly cartoon for which they are paid a living wage for exclusive rights. Such a change would support the professional of cartooning and journalism, and be in keeping with the reputation of theNew York Times as one of the world’s leading newspapers.

Thank you for your time and attention,


Tom Richmond, President
National Cartoonists Society


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Planned Parenthood Cartoon Riled Up Our Readers

There has been an intense debate from both sides of the political aisle over the decision, and reversal, of Susan G. Komen for the Cure to cut their funding to Planned Parenthood.

Click to enlarge

One of our strongest conservative cartoonists, Gary McCoy, drew the cartoon to the right, juxtaposing Susan G. Komen’s mission to aid women’s health with the fact that Planned Parenthood performs abortions.

It’s a tough cartoon, as are most cartoons dealing with abortion, and several of our readers wrote in about it. Here are some of the opinions we received:

Rob C.: “This cartoon is obviously by a right wing evangelical. Obvious because he uses the term “pro-abortion” rather than the correct term “pro-choice”.  As with many of his ilk, he wants government out of people’s lives but, wants government to dictate his beliefs. I think the dictionary defines him as hypocrite.”

Bruce G.: “The cartoon was totally off-the-point but not surprising given how far off-base politics has gotten these day.  Komen wasn’t paying Planned Parenthood for abortions but for other testing.  Unfortunately, rhackos (right-wing whackos) think: Planned Parenthood = abortion. Not valid!  Planned Parenthood provides a lot of services for women, including abortions.  Go back to Venn diagrams folks — there’s some overlap but they’re not equivalent.”

James B.: “Apparently it is allowed to murder unborn babies while trying to cure cancer? Hypocrites!”

Phil K.: “While giving startling visuals, it factually devoid of any real accuracy.”

Vicky K.: “Since none of the funds received by Planned Parenthood from Komen were used for abortion, the cartoon was foul.  Perpetuating a myth for political purposes is dispicable.”

Paul K.: “This is the most absurd cartoon you have ever shown. I am always fine with differing views, but this is ridiculous. Taking a serious health issue like breast cancer and politicizing it with their emotional issues of abortion is outrageous. It is sickening and represents how broken things are right now – you should not be encouraging this kind of gutter politics in my view.”

Let us know what you think! Comment below, or post your thoughts on our Facebook page.


Cartoonists Look Back At 9/11

It’s an understatement to say that the events of September 11 will forever be etched in the minds of millions of Americans. As we commemorate the 10th anniversary of that tragic day, I thought it would be good to ask some of the top political cartoonists to reflect on that day and how it affected their creative process.

As cartoonists are masters at combining words and symbols into one single, powerful image in a small space, it’s an interesting look back at a day none of us will ever forget.

Mike Keefe, Denver Post

On September 11, 2001, as I walked into the service department waiting room at the Empire Nissan dealership in Lakewood, Colorado, five or six people were glued to the TV set on the wall. One woman had her hand clamped across her mouth. On the screen was the image of one of the Twin Towers in smoke and flames.

An elderly man told me a jet liner had crashed in to the skyscraper.

I called my wife and told her to turn on the television. I hung up and a moment later another aircraft slammed into the second tower. “Holy Shit!” “What the Fuck!”  Gasps filled the room.

When our shock eventually turned to silence, the same elderly man said, very quietly, “There will be war.”

Taylor Jones, Cagle Cartoons

I had just started work for the morning in my home studio on Staten Island, New York. Can’t recall if I was actually on deadline, but I might have been — for El Nuevo Día, in Puerto Rico. I was listening to NPR when they announced that a plane had crashed into the North Tower of the World Trade Center. So I switched off the radio and turned on CNN. I saw a huge hole at the top of the tower, with flames and dense smoke. Mesmerized, I watched as, a few minutes later, a second jumbo jet sliced into the South Tower. About 10 seconds later, I heard the sonic boom — the time it took for the sound of the impact to travel across New York Harbor and reach my neighborhood on Staten Island.

I worked fitfully in my studio for much of the day — an ear tuned to NPR, an eye glued to CNN or one of the network news stations. Around 10 o’clock, I drove to the local elementary school to pick up my oldest daughter from her first grade class. The principal thought all of us parents were fools to pick up our children, who were assembled in the auditorium. He was yelling at the top of his lungs, claiming that the safest place for the students to be at that moment was in school. None of the parents were buying his commentary, and, by noon, every child who could be picked up from school was safely home.

The cartoon I drew for Hoover Digest, a few weeks after the attack, was roughly based on a neighborhood in Brooklyn. I added the flags. No such “brownstone” neighborhoods exist on Staten Island. By New York City standards, Staten Island looks like suburbia, mostly. It’s the reason Staten Island is so appealing to cops and firefighters as a place to call home: A bit of green to seek respite from the brown, the fire and the smoke.

Bill Day, Cagle Cartoons

After I drew the my ‘Firemen and Flag’ cartoon, there was such an overwhelming response that the newspaper ordered shirts with the image on the back. Below the image were 3 union logos- FDNY, NYPD, and FDNY-EMS. We raised $20,000 from the sale, with newspaper staffers filling the requests and mailing them out. We divided the proceeds 3 ways and mailed it to the Union Families Fund that gave it to the families who lost loved ones in 9/11. It felt good to do something to help in some small way.

Cam Cardow, Ottawa Citizen

I had been up late the night before and so when the call from editorial page editor came at 10 a.m., I was still sleeping. She said, “Well, of course you know what topic you’re drawing today” and I responded “no.” Shocked, she asked me if I had seen the news yet and I replied I hadn’t. She said, “turn on the TV” and I asked “what channel?” “ANY channel,” she replied.

Like everyone else, my jaw dropped at the surreal images of planes hitting the towers and then she said, “I’ll need a cartoon in an hour and a half.” I knew right away it had to be a good one.

It’s amazing the things you’re capable of when adrenalin kicks in and when you have no chance to over analyze. I was pleased with my final result, given the time issues of going from concept to final drawing in 90 minutes and importance of the topic. Plus, it was the cartoon for which I was nominated for a Canadian National Newspaper Award in 2001.

Bob Englehart, Hartford Courant

I was in my studio at home working up cartoon gags for the day when my son called. “Are you watching TV?” he asked. I told him I wasn’t. He said to turn it on. “We’re being attacked.” I turned it on just in time to see the second plane hit the tower and ran downstairs to tell my wife. We watched the coverage for a few minutes and I said, “I have to go to the paper.”

I stopped for gas along the way and a customer said that the Pentagon had been hit, too. I figured it was just a rumor, but when I got to The Courant, I watched the whole 9-11 story in the newsroom. As we watched the towers collapse, I was glad I was an editorial cartoonist. At least I didn’t feel completely helpless. I could do something, but if I had been a young man, I would’ve gone out and joined the Army that day.

R.J. Matson, St. Louis Post-Dispatch

On Tuesday morning, September 11, 2011, I was in my studio in Greenwich, reading the papers, wondering what I’d draw for the New York Observer that week. The Observer hit the newsstands on Wednesday each week, and I typically faxed sketches to my editor by noon, every Tuesday, and completed the cartoon by 6pm.

I happened to be watching CNN when the first plane strike was reported and I watch the days horrifying events unfold on TV. I immediately thought of the World Trade Center bombing in 1993, which I learned about when my neighbor returned home from work mid-morning with a thick ring of black soot around his mouth. He told me about his harrowing evacuation down 80 flights in pitch black stairwells. A few days after that incident, I drew a cartoon for The Observer showing an anxious Wall Street executive at his desk on a high floor in one of the World Trade Center towers. Behind him, on the glass windows, a hammer hung by a chain and a sign read, “In Case of Emergency, Break Glass.”

I thought of that cartoon, and I wondered how people would escape the fires. I thought of my father, who ran a major company that was hired to improve the fire safety systems in the World Trade Center after 1993. The stairwells would now be lighted at least. I thought of my friends and colleagues who lived and worked downtown. I thought of my brother-in-law who was a bond trader working in one of the towers and I realized I had no idea what floor he worked on (I later learned he safety walked down about 25 flights to street level and then walked about 80 blocks north to his apartment, never looking back. He never returned to that job and moved to Denver within a week.)

I remember I was not able to reach The New York Observer by phone until late that afternoon. The Observer offices were nowhere near what we would later call Ground Zero, but I was not sure whether or not they would be able to publish that day.

Shortly after the second tower had been hit I got on my bike and rode a mile or so to a point on the Long Island Sound from which the twin towers were visible. I saw the smoke. My city had been attacked and I felt odd being thirty-five miles away. I felt I should have been there.

I returned to my studio. No word from The Observer. After the towers had collapsed, I sat stunned and absorbed the full enormity of that catastrophic day. Finally, not knowing what else to do, I started sketching and settled on this hopelessly inadequate idea which my editor saw for the first time about an hour before deadline.

Gary McCoy, Cagle Cartoons

I remember when I first heard any account of the 9/11 attacks, I was on my bedroom floor doing crunches. It was part of my morning routine before heading to work. The radio station, KMOX in St. Louis, first reported that a small bi-plane was reported to have struck one of the World Trade Center towers. As news came in, and it was verified that it was a commercial jetliner, I quickly headed to the living room, where I saw on the TV the second plane strike, and the incoming news about the Pentagon being hit.

I remember this feeling of anger, as if coming home and finding your house had been burglarized. This was our country, and some bastards were attacking it. One of my best friends at the time was a Muslim from India. So once it was determined that it was radical Muslims who committed the attacks, I was very conscious of possible retaliation in our country.

For me, as for millions of other Americans, the whole ordeal was a national nightmare come true.

The cartoon above is my commentary of local price gouging that occurred at some gas stations that tried to capitalize on the tragedy.

John Cole, Scranton Times-Tribune

Watching the events of September 11, 2001, unfold, my initial reaction was one of anger. What unspeakable monster would do something like this to their fellow humans? What twisted logic underlies such an act. Thus my first cartoon depicted a scowling Uncle Sam towering over a smoke-shrouded Manhattan skyline, looking over his shoulder to suggest he’d be looking for those responsible.

But it wasn’t until a few days had passed that I began to digest the meaning of what had happened, and what the event meant to us as a nation. It definitely brought the various shades of the nation’s political spectrum together in various (and even touching) displays of bipartisanship. Hard to imagine that happening now. So above is the first cartoon about 9/11 that I actually was satisfied with, drawn roughly five days after the fact.

Pat Bagley, Salt Lake Tribune

There was no work being done—the staff of the Salt Lake Tribune clustered in front of the televisions around the office. We quietly shared observations and information (“Could be bigger than Pearl Harbor,” “They say 20,000 people work in the towers”) as we tried to make sense of what we were seeing. We collectively gasped as the first burning tower collapsed. Then the second went down along with confused reports of other planes and other targets. When images of a jetliner smashing into one of the towers began to be played by the networks in a continuous loop, we began drifting back to our desks and work, or at least we tried to work.

I had difficult decisions to make about the cartoon for the next day. Given the day’s surreal feel, anything routine was out. There were already political figures on TV vowing revenge, but it was too soon for warrior bald eagles, steely-eyed Lady Liberties, or heavily-muscled Uncle Sams. What people felt at the moment was a need to share the tragedy and be with others. I reviewed and rejected employing a national symbol as a stand-in for our shared grief. Instead, the task seemed too much for any image and I decided on an unsigned black panel with the date. Hardly a cartoon at all, but then hardly an ordinary day.

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Murdoch Paper and Cartoonist Criticized Over ‘Disgusting’ Cartoon

A cartoon by Peter Brookes, the staff cartoonist for the Murdoch-owned Times of London, is getting criticized for a cartoon he drew addressing the ongoing coverage of the News of the World phone-hacking scandal.

Peter Brookes cartoon in the Murdoch-owned Times of London (click to enlarge).

In a cartoon titled “Priorities,” Brookes drew a group of starving Somalians, with one saying, “I’ve had a bellyful of phone-hacking…”

One could argue that Brookes is making a legitimate point about the media’s focus on Murdoch, and its lack of coverage on other important issues, including a horrendous famine in the Horn of Africa. Brookes himself wasn’t available for comment today, but I hope to add his views as soon as I can.

The cartoon seems to echo comments made by several Conservative members of Parliament that the debate in the House of Commons on the phone hacking scandal was a big distraction from more important issues. As MP Peter Lilly noted, “I am only sorry that we are not being recalled to discuss the problems of the eurozone, the slowdown in the world economy in the face of higher energy prices, and the famine in east Africa.”

Regardless, Twitter went ablaze with critics like NPR’s Louisa Lim, who noted the cartoon is crude and tasteless, and “comes off as pro-Murdoch propaganda.” The BBC’s Robert Rea also chimed in, claiming that the cartoon “implies focusing on corruption allows famine to go unchecked.” Solange Uwimana, writer and editor for Media Matters, said he has no words for the cartoon, but thought that “Murdoch and all his minions couldn’t be any more depraved.”

Others were more balanced. British photographer Russell Cavanagh said the cartoon is an attention-getter, and that “sometimes the truth is tasteless.” And Rob Crilly, a reporter for The Telegraph newspaper in London, said, “I don’t know why people are upset by The Times cartoon today. Be shocked–but not at the pic.”

What do you think of the cartoon? Fair or foul?

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Casey Anthony Cartoons

People around the country are shocked that Casey Anthony was found not guilty after prosecutors failed to prove she killed her toddler daughter, Caylee Anthony. What do the nation’s cartoonists think about the trial, the verdict and the media’s obsession with the case?

Click here to view all our Casey Anthony cartoons. We’ll update it as new cartoons come in.

J.D. Crowe / Mobile Press-Register (click to view our Casey Anthony cartoons)



Memorial Day Cartoons

Memorial Day is upon us, and while most people are thinking more about grilling hamburgers that our military, don’t forget make time to commemorate the U.S. servicemembers who died protecting your right to slop sauerkraut on that hot dog.

Click here to view our Memorial Day cartoon collection.

Joe Heller / Green Bay Press-Gazette (click to view cartoon collection