I’m Your Bunny, Wanda –Part Two

Here’s more from my cartoonist buddy, Randy Enos

I finished up my double-page spread for Playboy on the Jazz Poll by the end of my week’s stay in Chicago. Art Paul, the art director, asked me to go with him to the Chicago Playboy Club (the original Playboy Club) on my last evening there. He said that I ought to see it and we could relax and have some fun after my busy week putting together my illustration as the votes were coming in. He also said that because he was a family man, and had never really gone to the club very much, that it would be good for him to go because Hefner liked the executives of the company to go once in a while, just to check on things and make sure everything was hopping along okay. So, off we went.

Later in life, I visited the New York club which was glitzy, full of big windows and flash whereas this Chicago club was simpler and homier. The famous Playboy bunnies were flitting about everywhere as we entered and we were shown to a table in a large room with a stage. Art said we were going to see a show while we ate. It turned out to be a standup comic.

At the club, one didn’t order from a menu. They had a very nice standard steak dinner. But, before that came, a bunny appeared at our table and announced, “I’m your bunny Wanda.” Wanda brought us some drinks and we chatted away until the house lights started to dim just as our food was being brought to our table. I could see that it looked very delicious and then the room went completely black and remained so until the stage show was over. Meanwhile, I had the odd adventure of eating an entire meal without being able to see it! Art and I felt our way through it.

As the lights came up and our table was cleared, Wanda again appeared and asked if we would like anything.

“Do you want anything, Randy” Art said to me. I said that maybe a pack of cigarettes would be nice. I was smoking Camels in those days. When I would eat by myself at the Water Tower Inn, I would be the only one in the vast dining room because the hotel had just opened and there were practically no residents yet. I would put a cigarette in my mouth and three waiters would fly to my table to light me up. 

But, I digress. I asked Wanda to bring me a pack of Camels. She returned presently and set a tray on our table in the traditional “Bunny dip” fashion. On the tray was a pack of Camels and a Playboy lighter.

“That will be three dollars “ she said. Camels cost 25 cents a pack in those days.

Art said, “No, this is on the magazine… company business”.

Wanda : “I’m sorry sir, but you have to pay for cigarettes.”

Art: “It’s company business. I’m a vice-president of the company.”

Me: “It’s okay, Art, I’ll pay for it,” I said, reaching for my wallet.

Art: “No no no, you don’t pay for anything while you’re here.”

Wanda: “I don’t know who you are, sir.”

Art: “This is company business. Everything is charged to the company.”

Me: “Let me…”

Art: No, you don’t pay for anything.

Wanda: “Do you have a C9 key?”

Art: “What’s a C9 key?”

Evidently, it’s a key, usually given to the press and VIPs, which allows you to charge cigarettes and date bunnies.

Art demanded to see the floor manager who quickly came over. Art explained the problem to him and he was having none of it and refused to charge the cigarettes. I, of course, kept interceding with my plaintiff pleas to end it all by paying the three dollars but Art would not hear of it. He reached into his own pocket and paid the man while asking for his name so he could be reported to Hefner.

That was that, and we sat for a while talking and me smoking my expensive cigarettes which I lit with my Playboy lighter (I still have it).

When we were ready to leave, Art said that he was looking for a Bunny to put on the cover of the next issue and how he thought that Wanda was the perfect look that he needed. The next time she came by our table, Art asked her if she had ever posed for the magazine. Okay, now, she must have thought that Art was hitting on her because she thrust her nose in the air and without a word, completely ignored him and wiggled off.

I often think about our bunny, Wanda, and how she never realized how close she came to being on the cover of Playboy magazine .

Read “I’m Your Bunny, Wanda –Part One”

Randy Enos

Email Randy

News Syndicate

Trump’s Wandering Eye

President Trump surprised the pundits and his own Republican party when he sided with the Democrats this week. Trump hasn’t been getting much from the grouchy, ineffectual Republicans, so it shouldn’t be surprising that his eye starts to wander.

That Democrat is quite a cutie.

This cartoon is similar to one I drew many years ago, when President George W. Bush was looking to jump into wars around the globe.

Men don’t change much, huh?


News Syndicate

Turkish Cartoon Crackdown, Again and Again, and Now Worse

Most Americans don’t follow the news from Turkey, especially with our election looming next week. Turkey’s President Recep Tayyip Erdogan, has been cracking down on opposition throughout Turkey in the wake of a failed coup attempt a few months back, with tens of thousands of alleged coup collaborators either jailed or fired from their jobs.musacartoon It seems that a failed coup is also a great excuse to get rid everyone Erdogan already didn’t like who weren’t involved with the coup as Erdogan has closed down virtually all of the media outlets that have been critical of him. The only opposition newspaper left, Cumhuriyet, was raided last week with their editors, their top writers and their editorial cartoonist thrown in jail.

To see that Erdogan’s purge extends well beyond those who were involved in the coup, look no farther then Musa Kart, the jailed editorial cartoonist for Cumhuriyet, who’s cartoons have enraged Erdogan for many years. Here’s an article from Cartoonists Rights Network (CRNI) about how Erdogan tried to put Musa in jail for nine years for the 2014 cartoon at the right that depicts corruption as a hologram of Erdogan looks away; the courts dismissed the case. Here’s an article from the Committee to Protect Journalists with a broader update on Erdogan’s recent press purges.

kartcat60Musa’s 2005 cartoon of Erdogan as a cat tangled in strings produced a similar battle with an offended Erdogan, who clearly has a thin skin when it comes to cartoons. Musa was sentenced to prison, his penalty was reduced to a fine, and the courts later dismissed the fine.

Cartoonists around the world have drawn cartoons supporting Musa when he was arrested before and a new pitch for cartoons is coming from my buddies at Cartooning for Peace (CFP). I’ve posted the column from CFP below along with one of the cartoons supporting Musa from India’s Paresh Nath.

Turkish cartoonist Musa Kart detained by police along with journalists from opposition newspaper Cumhuriyet
From Cartooning for Peace

On Monday 31th October several members of staff from the opposition newspaper Cumhuriyet have been detained by police following raids on their homes. These include editor in chief Murat Sabuncu, the paper’s lawyer and cartoonist Musa Kart.

His home was searched by police around 5am before he went to the police station for questioning, apparently with his lawyer. Musa is no stranger to harassment from the regime. In 2014, following the publication of one cartoon refering to a money laundering scandal involving many people close to Erdogan, cartoonist Musa Kart was facing a 9 years imprisonment. He was finally acquitted of the charges. As he left the building to surrender to police, Kart told reporters:

“How will they explain this to the world? I am being taken into custody for drawing cartoons.”

“I’ve been trying for years to turn what we’re living through in this country into cartoons. Now I feel like I’m living in one.”

On Tuesday 1st November hundreds of protestors camped overnight in protest at the Istanbul headquarters of Cumhuriyet – last symbol of the fight for freedom of speech in Turkey.

A statement from the Istanbul chief prosecutor’s office said those detained were suspected of “committing crimes” on behalf of the Gülen movement, accused by the government of masterminding the coup attempt in July.

The Turkish government has embarked upon a “purge without limits” according to Christophe Deloire, secretary-general of Reporters Without Borders:

“Cumhuriyet is once again the target of persecution, another 15 media have been closed and there is hardly anyone left to cover this. (…) If Turkey does not stop using the state of emergency to kill off media freedom it will soon be too late. At this rate, media pluralism will be a distant memory before long. Are people sufficiently aware of the dramatic change taking place in this country, where no media outlet seems to be safe from this never-ending purge?”

This marks a new chapter in media and press persecution by the Turkish state. 170 media outlets had been shut down since the attempted coup and 105 journalists arrested. Authorities revoked the press accreditation of more than 700 journalists while thousands of journalists are unemployed.

Cartooning for Peace is starting a campaign to support cartoonists, journalists and freedom of speech in Turkey.

Cartoonists from all over the world, including members of Cartooning for Peace, are already sharing their drawings. See more of the cartoons in support of Musa here.


This one is by our own Paresh Nath of India. See more of Paresh’s cartoons here.





Blog News Syndicate

My Interview with Pakistani Cartoonist Sabir Nazar

It is tough to be an editorial cartoonist in Pakistan. Check out my conversation with courageous Pakistani cartoonist Sabir Nazar who will soon be joining our site. I put some samples of his work below the video.








Sabir is the staff cartoonist for The Daily Express Tribune, which is affiliated with The New York Times International. He draws color cartoons for The Friday Times, Newsweek Pakistan, Pakistan Today and The Herald, all in Pakistan.

Welcome to, Sabir!


Jerry Brown Drought and High Speed Rail

Jerry Brown   Drought and High Speed Rail © Daryl Cagle,,Jerry Brown, California, flag, bear, desert, joshua tree, drought, water, train, high speed rail, governor


Two Faced Jerry Brown

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California Agriculture Water Hog

California Agriculture Water Hog © Daryl Cagle,,pig, hog, farm, farmers, agriculture, water, drought, California, 80% of the water used, 2% of the economy


Jerry Brown has Outlawed My Lawn


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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.