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Cartoonists are Casualties of War Too

People who like to draw serious political cartoons for a living – people like me – have to be extra careful in these divisive times.

In just the last month three major newspapers – the Washington Post, the Philadelphia Inquirer and the Guardian in Britain – have pulled down or decided not to publish cartoons drawn by the best editorial cartoonists in the world.

Michael Ramirez, Monte Wolverton and Steve Bell each bravely applied their talents and opinions to the brutal war in Gaza between Israel and Hamas that started Oct. 7.

For their troubles, they were charged with being Islamophobic, anti-Semitic or racist by readers, their fellow journalists and editorial boards. Bell was even fired.

The most recent example was at the Washington Post, where my good friend Michael Ramirez ran his caricature of a Hamas spokesman, Ghazi Hamadi, in a suit with five women and children roped to his body.

“How dare Israel attack civilians…” the Hamas spokesman was saying.

You’d think it’d be easy for anyone to get the point Ramirez was making. Many cartoonists have used the same idea of Hamas or Hezbollah wearing children as human shields, including me.

But many readers immediately expressed outrage on social media and bombarded the paper’s comment section from their silos.

Ramirez was charged with excusing Israel’s war crimes and pushing Israeli military talking points and accused of being a racist for his malicious, offensive and “grotesque caricature” of a Palestinian.

The reader outrage was so intense that the boss of the Post’s opinion section, David Shipley, “re-evaluated” his decision.

He didn’t just pull it down from the paper’s web site. He issued an apology for having “missed something profound, and divisive” and published a selection of critical comments by readers.

Ramirez ably defended himself on Michael Smerconish’s Nov. 11 show on CNN.

Calling the charges against him “ridiculous,” he said, “The cartoon was very specific. It pointed out the hypocrisy of an organization that uses civilians as shields” and said his critics “used the race card as a way to eliminate a contrary political opinion they don’t agree with.”

I agree with Ramirez. It was outrageous how quickly – and abjectly — the Post caved to the complaints of its noisiest, most partisan and most sensitive readers.

What happened last month at the Philadelphia Inquirer to my good friend Monte Wolverton was another example of how careful editorial cartoonists have to be today.

My small business represents Wolverton and syndicates his work. His Oct. 18 cartoon showed an oversized Israeli army boot crushing Hamas terrorists.

It ran in many other newspapers without any complaints, but the Inquirer reconsidered and decided to take it down and apologize because its editors thought the cartoon reinforced “pernicious anti-Semitic tropes about Israeli aggression.”

I suggested to Monte that he withdraw the cartoon and apologize for it because I think any big military boot in an editorial cartoon could be seen as a Nazi boot and portraying Jews as Nazis is an anti-Semitic trope.

The most outlandish – and unjustified — case of cartoon cancelling happened to the highly respected Steve Bell of the Guardian newspaper in Britain. He was fired after 40 years at the paper, over a cartoon that was never even published.

His fatal cartoon depicted Benjamin Netanyahu carving the map of Gaza on his bare belly with a scalpel and saying “Residents of Gaza get out now.” The cartoon drew upon a famous photo of Lyndon Johnson, lifting his shirt to show a scar from a recent surgery, which formed the basis for a famous cartoon by David Levine, with LBJ showing a scar shaped like Vietnam on his belly – an image familiar to all cartoonists and a good analogy.  Gaza is Netanyahu’s Vietnam.

Bell quoted his bosses as saying the cartoon could be seen as anti-Semitic because somehow they believed it was playing on the “pound of flesh” line spoken by Shylock, the Jewish moneylender in Shakespeare’s 1596 play The Merchant of Venice.

On my “Caglecast” podcast I asked the top three editorial cartoonists in Israel if Bell’s cartoon qualified as anti-Semitic and they agreed it wasn’t even close. Declaring Bell’s cartoon anti-Semitic was a ridiculous stretch.

But it shows how political cartoonists of today really have to know where to draw their lines.

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Justice Clarence Thomas Cartoons!

Ethics issues swirl around Supreme Court Justice Clarence Thomas –and great editorial cartoons swirl around him too!  On our latest Caglecast we discuss cartoons about Clarence Thomas and his sketchy ethics!  Here is the video and please subscribe to our Caglecast on YouTube.

We have a great new Caglecast about Justice Clarence Thomas with FOUR great CagleCartoonists: RJ Matson, Taylor Jones, Monte Wolverton and Ed Wexler!

 

The first cartoon (at the top), and this one are by John Darkow. On the podcast we have in in-depth discussion about Justice Thomas’ outie belly button.

 

The next three are by RJ Matson, who talks about each of these on our Caglecast podcast.  The cartoon below is a rough sketch that RJ submitted to his editor and it was rejected.  I think it would have been a great cartoon!  It made me laugh out loud.

This one is by Ed Wexler.

Support our Popular, Moderate Cartoonist, Jeff Koterba –We Need to Keep Jeff Drawing!

Or you can support our Cagle.com site!
Become a Cagle.com HERO!

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Support Monte Wolverton – Don’t Lose Liberal Cartoons in the Public Debate

We’ve put up a crowd funding campaign for our beloved and brilliant, progressive cartoonist, Monte Wolverton at Cagle.com/Wolverton –come take a look!

The problem we have is that, with the continuing decline of newspapers, we’ve reached a point where many editorial cartoonists, like Monte, simply can’t afford to keep drawing for the pittance that newspapers pay. I hate seeing our profession slowly die, and I would hate to see Monte leave the public debate.

So we’re putting up a crowd funding campaign and hoping that support from fans can keep Monte in the game. Our Cagle.com Heroes have been very generous in keeping Cagle.com operating, perhaps editorial cartoon fans would want to support keeping one of their favorite cartoonists drawing.

Here’s Monte’s message to his fans on Cagle.com.

I did a Caglecast podcast with Monte showing some of his recent work and talking about his famous, cartoonist father, Basil Wolverton. See the video below!

See Monte’s archive and read our pitch for your support. We think Monte has an important voice and we really appreciate your support for Monte.

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Wolverton Decade!

Monte Wolverton’s favorite cartoons of the past decade are below! Monte is best known as a contributor to MAD Magazine and son of Mad’s great Basil Wolverton. He is also the editor of The Plain Truth magazine. He draws two editorial cartoons per week,  See Monte’s favorite cartoons of the decade on USA Today, where you can click on each cartoon and see it blown up to fill the screen with a pretty, high-resolution image.  See the complete archive of Monte’s editorial cartoons here.

Look at our other, great collections of Cartoon Favorites of the Decade, selected by the artists, in the links below. ( There is ONE more artist decade to go!)

Pat Bagley Decade!
Nate Beeler Decade!
Daryl Cagle Decade! 
Patrick Chappatte Decade!
John Cole Decade!
John Darkow Decade!
Bill Day Decade!
Sean Delonas Decade!
Bob Englehart Decade!
Randall Enos Decade!
Dave Granlund Decade!
Taylor Jones Decade!
Mike Keefe Decade!
Peter Kuper Decade!
Jeff Koterba Decade!
RJ Matson Decade!
Gary McCoy Decade!
Rick McKee Decade!
Milt Priggee Decade!
Bruce Plante Decade!
Steve Sack Decade!
Bill Schorr Decade!
Kevin Siers Decade!
Ed Wexler Decade!
Adam Zyglis Decade!
Chris Weyant Decade!
Dave Whamond Decade!
Monte Wolverton Decade!

We need your support for Cagle.com (and DarylCagle.com)! Notice that we run no advertising! We depend entirely upon the generosity of our readers to sustain the site. Please visit Cagle.com/heroes and make a contribution. You are much appreciated!

   

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Favorite Cartoons of the Decade

Here is my selection of my favorite cartoons of the decade. See them on the USA Today site here.

I pitched the idea to Gannett of running collections of favorite cartoons of the decade every day in December, the last month of the decade, with a selection by a different cartoonist each day. We, along with USA Today, selected the CagleCartoonists we would invite to participate and we asked them each to choose their favorite cartoons from the past ten years. I submitted twenty-nine batches of cartoons, selected by each of twenty-nine of our CagleCartoonists.  USA Today plans on showcasing their own Gannett employee cartoonists, Thompson, Marlette, Murphy and Archer, through Thursday, with our CagleCartoonists finishing out the month, starting this Friday with Pat Bagley.

USA Today started off their daily, decade slideshows today with their talented cartoonist, Mike Thompson, who also did the work of laying all of these collections out for The USA Today Network sites (that includes the individual Web sites for all of Gannett’s 100+ daily newspapers). Visit USA Today’s Opinion page online to see these every day this month. Click on each cartoon in each slideshow to see a full-screen, high-resolution version of each cartoon, which is very nice.

It is very difficult to select a small batch of cartoons to represent an entire decade!!

Getting twenty-nine CagleCartoonists to each select a decade of favorites was challenging. Obama certainly got shorted as many cartoonists are obsessed with Trump now. A couple of cartoonists selected only Trump-bashing cartoons, which made for a poor representation of the decade –but hey, the fact that the cartoonists chose their own favorites made this project interesting.  Some cartoonists, who have been with us for less than ten years, had to dig into their personal archives to cover the whole decade, so some of the cartoons haven’t been seen on Cagle.com. New Yorker/Mad Magazine/graphic-novelist Peter Kuper joined CagleCartoons.com just a couple of months ago and had to dig up his whole collection from his magazine gag cartoon archives. Dave Whamond and Ed Wexler, who joined us more recently, reached into their vaults for some of their early-decade cartoons; Ed selected some from when he was regularly drawing for US News & World Report magazine. Mike Keefe and Bill Schorr came out of their recent retirements to contribute their selections of favorites.

I wouldn’t call these selections the “best” of the decade, they are just the artists’ choices. I also can’t say that they represent the decade well (but what the heck).

Look at our other, great collections of Cartoons Favorites of the Decade, selected by the artists.
Pat Bagley Decade!
Nate Beeler Decade!
Daryl Cagle Decade! 
Patrick Chappatte Decade!
John Cole Decade!
John Darkow Decade!
Bill Day Decade!
Sean Delonas Decade!
Bob Englehart Decade!
Randall Enos Decade!
Dave Granlund Decade!
Taylor Jones Decade!
Mike Keefe Decade!
Peter Kuper Decade!
Jeff Koterba Decade!
RJ Matson Decade!
Gary McCoy Decade!
Rick McKee Decade!
Milt Priggee Decade!
Bruce Plante Decade!
Steve Sack Decade!

We need your support for Cagle.com (and DarylCagle.com)! Notice that we run no advertising! We depend entirely upon the generosity of our readers to sustain the site. Please visit Cagle.com/heroes and make a contribution. You are much appreciated!

 

 

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The Line of Fire

Last week I got back from “The Line of Fire” conference in Mexico City, an editorial cartooning event put on by CartónClub. We’re hoping this will be the first of many annual conferences that CartónClub will be hosting. I’d like to see them succeed – we need more events like this around the world.

I was the only USA cartoonist in the La Linea de Fuego show. A bullet passed through each cartoon about press freedom. Violence against journalists is a big problem in Mexico.

Cagle Cartoons was a co-sponsor of the event and there was a great delegation of Cagle Cartoonists there, including me, Mike Keefe, Monte Wolverton, Gary McCoy, Rick McKee, David Fitzsimmons, Emad Hajjaj, Osama Hajjaj, Arcadio Esquivel, Rayma Suprani and Nerilicon. My buddy, Bizarro cartoonist Dan Piraro also came. CartónClub’s founder, Angel Boligan and their president, Dario Castillejos are Cagle Cartoonists too.

The event was also co-sponsored by Cartooning for Peace (CFP), which works in Mexico and Canada under the terms of their grant from the EU that funds the organization (notably, the grant excludes the USA). CFP does programs about editorial cartoons in schools and prisons around the world and trains participating cartoonists in how to give these presentations in workshops; they pay an honorarium to the participating cartoonists to keep them going, and giving more lectures. It is a nice program, and the days in Mexico City were filled with these training workshops that didn’t involve much of our Cagle Cartoons delegation, so we spent a lot of time as tourists.

I got the chance to talk to representatives of the EU who support Cartooning for Peace at the conference; it was great to hear how they appreciate our art form – I can’t imagine any editorial cartooning programs like these happening through the United States government.

There was a nice exhibition at the El Universal newspaper lobby called “La Linea de Fuego” (The Line of Fire) where a bullet passed through every cartoon, creating some havoc that had something to do with press freedom. That’s my Statue of Liberty entry in the exhibition above. We had panels and discussions. It was all good.

Here are a couple of photos from our trip. Thanks again to CartónClub and to everyone involved!

Here is a gaggle of cartoonists at the CartónClub conference!

Here’s another group pix with even more cartoonists, at the La Linea de Fuego exhibition …

Want to see more pix? Take a look at my new Instagram feed @daryl.cagle  I’m just starting Instagram and I don’t know what I’m doing there yet! You can also see more on my Facebook page.

Our Cagle Cartoonist David Fitzsimmons wrote a nice piece about the trip here.

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CagleCartoonists Meet in France

Every year, CagleCartoonists get together at the big editorial cartoons (they call them “Press Cartoons”) convention in St Just le Martel, France. The small village has dedicated itself to our art form, building a grand cartoon museum and hosting a great party for us. The museum is run by local volunteers; the townsfolk put most of the cartoonists up in their homes and they cook for us, and give us an open bar, and the teenagers in town are our waiters! I can’t imagine anything like that happening in the USA.

It is a delight to visit St Just and see our profession held in such high esteem.  Because of the generosity and support of the village, it is actually cheaper for the cartoonists to come to the convention in St Just than to go to our own, American cartoonist conventions.

This year we had 17 CagleCartoonists from around the world at St Just –you can see 14 of them in the group photo above. That’s our bovine Statue of Liberty looking us over, in the cartoon museum, at our “Trump: Nine Months Later” exhibit.

Our own Angel Boligan went home with the cow –the big annual prize in St Just. Congratulations to Angel!

The CagleCartoonists above are, from left to right: Manny Francisco (Singapore), Angel Boligan (Mexico), Christina Sampaio (Portugal), Pierre Balouhey (France), Pat Bagley (Utah), Gatis Šļūka (Latvia), Steve Sack (Minnesota), Osmani Simanca (Brazil), Monte Wolverton (Washington), Bill Schorr (California); Ed Wexler (California); Jeff Koterba (Nebraska) and Emad Hajjaj (Jordan). I’m seated in the front. Missing from our group photo (and probably hiding in the museum’s bathroom) are Rainer Hachfeld (Germany), Jos Colignon (Holland), and Christo Komarnitski (Bulgaria).

 

 

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To Scam a Cartoonist

 

hajocomputerdump
This cartoon is by Hajo from Holland.

To Scam a Cartoonist
By Monte Wolverton

A couple of weeks ago I got an email from a woman who called herself, generically enough, Mary. She said she wanted to hire me to “make cartoony of” a portrait of her family, so she could give it to her husband for his birthday. She attached a photo of her husband, two kids and herself. (See the photo at the top of this web site). She also let me know that she was engaged in humanitarian work, shuttling between Nepal and Australia, helping earthquake victims. Commendable. Damn commendable.

Why not? I thought. I can squeeze it in. I quoted her a price—not cheap, but I have bills to pay, Mary’s humanitarianism notwithstanding. I followed my standard policy for people I don’t know (and some I do)—credit card only, half up front. She got right back to me and said she would be paying by check, and therefore needed my cell phone number. I got right back to her and said sorry—credit cards only and I don’t give out my cell phone number. I never heard back, and didn’t give it a second thought.

A day or two later I learned that a cartoonist friend had taken her assignment. He did the requested family portrait and received a check for the amount he had agreed upon—plus $4,000. He emailed her and she said no problem—she had miswritten the amount. Go, ahead, she said. Cash the check, send her another check for $4,000 and keep the rest. At this point my friend realized that scamminess was afoot. He never cashed the check, but he lost valuable time doing work for nothing.

I can cast no aspersions because I myself almost fell for it. In retrospect, as usual, I could see four red flags. Who can tell me what they were? Okay, never mind—I’ll tell you.

1) Mary’s family photo was a little too cute. An ecstatically happy Caucasian family at the park—all grinning idiotically, with exceptionally good teeth. It had that slick stock-photo quality. Further, a Canon digital SLR is strapped around Mary’s neck. She’s white and blonde, yet she writes in broken English. “Make cartoony of”? Okay, maybe she’s Latvian, but probably not.

2) Why doesn’t she have a credit card? After all, she’s got a spendy camera, she shuttles between countries, and the kids in her photo have designer jeans. She writes checks for this stuff?

3) Why does she need my cell phone number to write a check?

4) Why do I need to know about her humanitarian work? Perhaps she was just sharing.

Oh, I almost forgot. Mary’s initial email came through the Association of American Editorial Cartoonists (AAEC) website. She was apparently looking for cartoonists to scam. Really — why editorial cartoonists? C’mon! We don’t make a ton of money. Most of us need other sources of income to support our cartooning habit. We fight for the oppressed and downtrodden. We stand against injustice, greed and exploitation. For that we get hate mail and death threats. Why not scam greedy hyper-capitalists and human traffickers instead? Here’s a suggestion for cartoonists. The next time a scammer emails you, go ahead and agree to do the work. Then send them a terrible, poorly rendered cartoon with awful perspective, garish colors, bizarre anatomy and confusingly tangent lines. Sign it as Marc Chagall. Few people will be able to tell the difference, but the scammer will likely be arrested when he or she tries to pass it off as genuine. And you’ll feel good.

Just kidding. I love Marc Chagall.

I’d be interested to know how many cartoonists fell for this one. I got this e-mail too.

I Googled the scammer’s e-mail address and found a post on the “Grand River Woodturners Guild” Facebook page, dated October 5th, warning of basically the same scam and noting that “all woodturners are getting this e-mail.” For the woodturners, the e-mail came from a man who was asking for a vase to be made for his wife. 

Thanks to Monte for writing this for us.

Daryl

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France, a Neo-Classical Cartoon, Cows and Lunch!

I just got back from our Cagle Cartoons junket to the cartoon festival in St Just France. I’m way behind on my cartoons, but I knocked this one out from a snapshot that I took in an obscure corner of the Louvre.

This is a painting by 18th century Neo-classical painter Louis-Jacque Durameau about the death of Marie Antoinette. It struck me as a multi-panel cartoon with a big Nobel Peace Prize medal for Barack Obama. I almost put labels on the frames, “Then,” “… and Now” but I decided less is more. This painting is really funny – and all the more so because it takes itself so seriously.

The photo below is our group having dinner in Paris. From left to right is cartoonist Adam Zyglis, cartoonist Nate Beeler , me, cartoonist Steve Sack, cartoonist Monte Wolverton, Janelle Beamer, the charming fiancé of charming, conservative cartoonist Rick McKee, Nate’s wife Eve and Adam’s wife Jessica.

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Here’s another group shot, around the cow statue at the editorial cartoon exhibition in St Just le Martel, deep in the heart of France near Limoges. Left to right is Nate, Eve, me, my wife, Peg, Justine the cow, Adam, Jessica, Janelle, Rick and Monte. Steve Sack was with us too; looks like he went missing in this one.

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The grand prize winner of the festival (the winner of the cow, the “Humor Vache”) was Venezuelan cartoonist Rayma Suprani. The prize is an actual cow. Rayma also got a little porcelain cow.

RaymaAndCows600forblog

I’ve long been impressed with Rayma. She drew for the El Universal newspaper in Caracas where she was a brave critic of the Hugo Chavez regime. The government took over her newspaper and she lost her job. Rayma may be moving to the USA next; I look forward to seeing what she draws here.

DarylAndMoinesPortrait600blogI won the grand prize cow at the festival last year, and I drew the poster for this year’s salon. As part of the winner from last year thing, the brilliant French caricaturist, Moines, drew my portrait. That’s me, giant me, and Moines at the right. Moines draws on a special kind of scratchboard and he carved each of my whiskers into the board with an X-acto knife. Makes me wanna pinch those cheeks.  Moines complains that he’s down to his last couple of sheets of this paper, which isn’t made anymore. Shame.