Conventional Wisdom

President Marc Murphy addresses a sheaf of cartoonists; your humble scribbler, appropriately, at far left. Photo by Angelo Lopez

I mentioned yesterday last weekend's convention of the Association of American Editorial Cartoonists, where we voted to reconstitute the organization as the Association of Political Artists. 

From outgoing AAEC President Marc Murphy's letter to the membership:

Of course, the Big News is that the Membership (including those attending in person and via Zoom link) voted to approve the two proposals I described in my last message to you. I won’t speak for them but it’s fair to say, at the least, that the members voted not just to save our organization and take steps to inject it with new life, but also to reposition it to respond more directly to the threats our work and Free Speech itself face. So, as soon as appropriate and necessary bylaw, website, and other changes can be made the AAEC will become the Association of Political Artists (APA) and will become an affiliate member of the vaunted Society of Illustrators. 

The move has been a long time coming. Vulture capitalists have spent the current millennium ripping flesh off the bones of our nation's newspapers, and no profession dependent upon print journalism is going to be around long.

The median age of the AAEC membership is probably around 65; the youngest member at the convention was about 40. Two members who made it to the convention are recovering from strokes. KAL Kallaugher spoke to conventioneers from his hospital bed, where he's waiting for a new heart.

Kevin "KAL" Kallaugher and David Horsey 

Not that you should read anything into that regarding the fate of political cartooning today.

There is no lack of graphic political commentary out there, much of it created by persons in their 20's and 30's. They're just not creating it for newspaper editorial pages. Their work ranges from memes to long-form webcomics, in the cloud or on the walls, static or animated.

The AAEC-cum-APA is going to spend the next year trying to define what a political artist is, hopefully in such a way that we don't have to spend another year defining what it isn't.

But we're not about to welcome the Baltimore Sun editorial board.

Jack Ohman moderates a panel of Joel Pett, Ann Telnaes, and Steve Brodner on "Anger Management."

There were a lot of other presentations and panel discussions over the three days of the convention. Topics included protecting our work from being "scraped" for ai; recovering from being let go or suffering a stroke; and cartooning for a community under siege.

The AAEC's Ink Bottle Award went to a pair of longtime volunteers at our convention. The Rex Babin Award for local-issue cartooning went to one of those cartoonists recovering from a stroke, Clay Jones. (By the way, I reported to Facebook some troll who posted a nasty comment about Clay on a photo I had posted there, and I will not approve any such comments here, either.)

I didn't buy any new books at this convention, so I have no new book reviews to offer. I did, however, get Jack Ohman to sign my copy of his latest book, Weird. Had I known that Steve Sack would make it to Sacramento, I'd have loved to get him to autograph my copy of The First and Only Book of Sack. I wouldn't expect him to fill a whole page, though.

Your humble scribbler next to a display panel that included one of his cartoons.

Speaking of making it to the convention, stormy weather in Chicago disrupted the travel arrangements of myself and several others. I had originally bought a plane trip on American Airlines involving a layover in the City of Broad Shoulders, starting from Milwaukee around 8:00 a.m. Thursday morning, I got American's message that the first flight would be delayed; but I was already packed and ready to leave the house at 6:00, so I left.

The agent at the check-in counter offered me the option of switching to a flight set to take off at 7:30, so I took it — only to see that flight get cancelled. The best I could get when I got to the front of the boarding counter was a noon-ish flight to Dallas connecting to a mid-afternoon plane to Sacramento that would arrive too late for me to make the first day's convention activities.

Not only did I get to watch my original plane take off without me; I had also wasted $80 checking my suitcase and upgrading my boarding group from 6 to 4. I ended up in boarding group 8 of all four planes to Sacramento and back; all four planes were completely full, and due to unavailable overhead bin space, they were begging group 8 passengers to check their bags for free.

Ah, well. Some other conventioneers from the East Coast didn't make it to Sacramento until midnight.

President Marc Murphy opens the Saturday night awards presentations at the Sacramento History Museum

Our next The APA's first convention will be in New York City at the home of the Society of Illustrators.

This Week's Sneak Peek

Display along a stairway at the Citizen Hotel in Sacramento

I was at the last convention of the Association of American Editorial Cartoonists this past weekend, so I had to draw this week's upcoming cartoon before I left. Given the peripatetic nature of the attention-starved lunatic at 1600 Pennsylvania Avenue, it ain't easy coming up with political cartoons that are guaranteed to be relevant over a week in advance.

The annual National Coming Out Day is coming up on October 11, so I figured I might as well draw something about it in time for the monthlies that run my cartoons.

As for the convention, it was the AAEC's last.

In light of the impending Death of Print, heralded by the Death of the Editorial Page, we voted to change the organizational name to the Association of Political Artists. Young people these days have never even seen an editorial page, and certainly don't produce cartoons for them.

We had considerable discussion over whether "APA" is too broad, and whether something more specific is needed to disqualify, say, presidents of the United States who post videos of themselves dropping tons of shit from an Air Force bomber.

On the other hand, as anyone who has struggled to remember all the letters in LGBTQIAA2SDLNBKR2QKn4PXEIEIO+ could tell you, it is nearly impossible to find a functional balance between specificity and inclusivity.

Oliphant's Veeps

"Promises, Promises" by Pat Oliphant in Denver Post, April 1968

How many vice presidents do you count in the above cartoon?

I recently mused that since "Oliphant's Presidents" has already been done (you can buy the book at amazon), I could have commemorated Pat Oliphant's passing by collecting his Vice Presidents. Well, his career spanned several of them, so here they are.

"Click" by Pat Oliphant in Denver Post, October, 1968

Lyndon Johnson picked Hubert Humphrey as his running mate in 1964 to shore up his support with the liberal wing of the Democratic Party. To Baby Boomers too young to remember the Minnesotan speaking out on behalf of Black Americans' civil rights in 1948, however, Humphrey came to be seen as errand boy for the man sending that generation to fight and die in a far away forever war in southeast Asia.

Running for president in LBJ's place after Johnson withdrew from the race, Humphrey found it difficult to distance himself from the administration's unpopular war while promising to continue advancing its Great Society ideals.

Of course, Johnson qualifies as a former Vice President in this cartoon, too. I suppose it is possible that Aussie Oliphant penned a cartoon of LBJ sometime before November of 1963; John Kennedy's Vice President could well have said or done something to catch the attention of the Adelaide editorial pages.

"Our Earth Contact, Spiro, Is Pushing for a Landing Here by 1986" by Pat Oliphant in Denver Post, September 1969

Humphrey lost the 1968 election to Richard Nixon, whose first Vice President, Spiro Agnew, served as the new administration's attack dog, speaking out against the media, liberals, antiwar activists, and the nattering nabobs of negativism.

Oliphant has some fun with one of Agnew's less controversial pronouncements in this cartoon, just two months after the first manned landing on the moon.

There has not, in case anybody is wondering, been a manned mission to Mars as of this writing; but NASA landed a craft on the Red Planet ten years before Mr. Agnew predicted.

Agnew was easily the most caricaturable of the Veeps we're looking at today — at least of the ones who never got promoted to the top job — so five versions of him show up in Oliphant's single-panel cartoon.

Did you remember to count Nixon as a former Veep at the top of this post?

"The Lone Ranger" by Pat Oliphant in Denver Post, May 1974

Of course you did.

Less than nine months into Richard Nixon's second term, Agnew pled no contest to charges of bribery  and resigned the Vice Presidency, bringing about the first exercise of the 25th Amendment to the U.S. Constitution. Passed and ratified after JFK's assassination, it provided a mechanism to fill a vice presidential vacancy.

Gerald Ford was quickly named and confirmed as Agnew's replacement at a time when the President had some legal problems of his own. Yet, while Agnew cartoons were instantly recognizable, six months into Ford's vice presidency Oliphant still found it necessary to write Ford's name on his chest.

"I'd Like You to Meet Our New Vice-President" by Pat Oliphant in Denver Post, December 1974

No such problem with Nelson Rockefeller, the former Governor of New York who had run for the presidency in 1960, 1964, and 1968.

He did not make a lasting impression as Ford's second in command, however. Not long ago, contestants on Jeopardy! needed to come up with the name of the vice president who followed Gerald Ford, and none of the three knew who it was.

I'm sure my very intelligent readership had no problem spotting him in the cartoon at the top of today's post.

"Ah Plan a Highly Important Staff Role" by Pat Oliphant in Denver Post, January 1977

The vice presidency is notoriously a thankless make-work job. John Nance Garner likened it to a bucket of warm spit, or something that rhymed with it. Thomas Marshall joked about two brothers, one of whom went to sea while the other was elected Vice President, and neither was heard from again. Julia Louis-Dreyfus's Selina Meyers in Veep was a character study in constant frustration and humiliation.

Jimmy Carter actually followed through with his promise to give Walter Mondale a substantial policy role in his administration. Mondale, the first vice president to have an office inside the White House, was Carter's adviser and trouble-shooter, the Georgian's conduit to Capitol Hill Democrats.

"There Is No Truth Whatever in the Rumor" by Pat Oliphant, October 10, 1988

There was nothing fair about that purse Oliphant always drew with Vice President George Herbert Walker Bush — Oliphant went further than almost any other mainstream editorial cartoonist in exploiting Bush's so-called Wimp Factor.

Having criticized Ronald Reagan's "voodoo economics" when Bush was a rival for the Republican presidential nomination in 1980, Bush served as a major cheerleader for Reaganomics and the rest of that administration's policies. Behind the scenes, Bush continued the Mondale model of the vice presidency: an experienced advisor who didn't seek credit for administration successes. By the same token, he also avoided the limelight during the Iran-Contra scandal.

The purse, and the Wimp Factor, disappeared once Bush as President dispatched troops to overthrow the government of Panama.

"How Come Is It" by Pat Oliphant, January 9, 1992

Young and handsome J. Danforth Quayle presented cartoonists with a real caricaturing challenge, which Oliphant answered by drawing him as a child. The vice presidency didn't lend Quayle much opportunity to dispel the cartoonists' depiction of him as a callow, inexperienced goofball; attempting to correct a schoolboy's flawless spelling of "potato" didn't help him.

It was a case of peaking too soon; he might have been taken more seriously after a few more years gave him a face fit for presidential central casting. I wouldn't have recognized him in the second pew at Dick Cheney's funeral over three decades later if he hadn't been sitting next to his wife.

"Where Do We Put Mr. Gore" by Pat Oliphant, November 8, 1993

Oliphant leaned into Al Gore's wooden reputation here, a product of the Vice President's extremely careful, measured, parsed, and deliberate speaking style. If Dan Quayle came off as a not-too-bright schoolboy skating by on his looks, Al Gore could have been the guidance counselor patiently explaining the importance of responsible life choices to a school assembly full of Quayles.

"The Energy Show" by Pat Oliphant, May 1, 2001

Dick Cheney was a completely different animal than any previous Vice President. Oliphant consistently portrayed him as the real power behind a frat boy President who got the job on the strength of having been a legacy student who made it to graduation because Dad's name was on a wing of the administration building.

Chief of Staff for President Ford, Congressman from Wyoming, and Defense Secretary under Bush the Elder, Cheney was more recently Chair of the Halliburton Corporation, a multinational oil service conglomerate. Tapped to find Bush the Younger a running mate in 2000, he found one in the mirror.

"I'm Smilin' Joe Biden and I'm Running for President" by Pat Oliphant, January 23, 2013

A commenter at Daily Cartoonist regretted that Pat Oliphant had never drawn Joe Biden. True, Oliphant's eyesight had failed him by the time Biden won the presidency; but he had drawn Biden as Vice President (and as Senator).

Which is where this Graphical History Tour must wrap things up. I know of no Oliphant cartoons of Mike Pence or Kamala Harris, and it's highly unlikely that he ever drew J.D. Vance.

On the other hand, I could have included cartoons he drew of former Vice Presidents Thomas Jefferson and Harry Truman, and there is probably one of Teddy Roosevelt somewhere along the line. But this post is already long enough.

And I could never be certain that I hadn't missed a cartoon featuring William Rufus Devane King or Charles Curtis.

Q Toon: Stacy Garrity Explains It All

I haven't seen much interest from national media in Pennsylvania's gubernatorial election this year; incumbent Governor Josh Shapiro is widely expected to win reelection handily. But since publications in both Philadelphia and Pittsburgh run my cartoons, I decided to show the Keystone State a little love this week.

The Republican nominee for governor there is State Treasurer Stacy Garrity, who, I will admit up front, has reportedly been doing a very good job at her present post. As a colonel in the Army Reserve, Garrity was a whistle-blower at Camp Bucca in Iraq, exposing abuses of prisoners and inhumane conditions.

On the other hand, she is a full-on MAGA Trumpster who advocated throwing out Pennsylvanians' votes in 2020 because they went for local boy Joe Biden over the grifter from Mar-a-Lardo. She's anti-choice on abortion rights, a COVID skeptic who protested houses of worship getting closed when other public gathering places were also shutting their doors. 

Spotlight PA, which identifies as "an independent, nonpartisan, and nonprofit newsroom producing investigative and public-service journalism that holds power to account and drives positive change in Pennsylvania," tried to get Garrity to respond to its questions on issues of interest to LGBTQ+ Pennsylvanians, but received only a terse, almost rude reply from a campaign aide.

Garrity’s campaign did not respond to a list of questions from Spotlight PA, including one asking her to elaborate on her position on same-sex marriage. Other questions included whether she would support nondiscrimination protections for LGBTQ+ Pennsylvanians; if healthcare providers should be able to assert religious or moral objections to turn people away; what she thinks of legislation to ban instruction on gender identity and sexual orientation in elementary classrooms; or if her administration would maintain a policy discouraging licensed providers and commercial insurers from conducting conversion therapy.

Instead, a spokesperson shared the following statement from Garrity: “We are all children of God, and every person regardless of their race, their gender, or their sexual orientation should be treated with dignity and respect. Period. Full stop.”

Marriage equality is, at least for now, the law of the land; but a heteros-only Definition of Marriage Act remains in Pennsylvania's statutes in case the Trump Supreme Court were to overturn Obergefell v. Hodges. Transgender persons are a favorite target of Republican politicians these days, and "religious liberty" advocates still want to be able to discriminate against LGBTQ+ patients, customers, renters, and neighbors.

Of  course, our issues are not the dominant ones in Pennsylvania this year. As in many other races around the country, the top campaign issues are affordability, data centers, and saving democracy from the other party. 

And by the way, there's a war on, or off, or on again. Or maybe it's splunge.

Happy Constitution Day (while it lasts)!

This Week's Sneak Peek

I'm going to tell you right now that this week's cartoon has nothing to do with Dolly Parton.

Golden Dreams Were Shiny Days

 Today's Graphical History Tour rummages through my September cartoons from 1986, 1996, 2006, and 2016. I'll bring up another September at the end of our tour.

1986

in NorthCountry Journal, Poynette Wis., September 1986

My cartoons for the NorthCountry Journal were drawn to accompany the month's editorial by Susie Isaksen, in this case warning that "Lake Charlevoix may be in Michigan, but what happened there could happen in Wisconsin."

Citing an editorial from Northwoods Call by Glen Sheppard describing Charlevoix as an ideal lake for swimming and fishing, with restaurants and "prissy gift shops" nearby, the alarm is raised: "But Charlevoix's shoreline has been scandalously polluted by some of the most god-awful ugly nightmares of the north — condos."

I've moaned here before how much I dislike drawing buildings. They are mostly impersonal and repetitive, and the perspective is unforgiving. That said, there was no choice here but to draw a lot of  late-20th-Century high-rises.

I did, however, like adding a swimming pool on the roof  of the condo in the upper right corner.

1996

in Journal Times, Racine Wis., September 22, 1996

One of the banes of electoral democracy has been the telephone push poll. Push polls have nothing to do with determining how candidates or issues rate with the public. I doubt that the alleged pollster at the other end of the line is recording your responses at all.

No, the caller first determines which candidate or issue you support, and if it's not the candidate or interest group that hired him/her, then moves on to a series of questions like: "Would you still support Your Candidate's Name Here if you knew that he drops little puppies into boiling water?"

I imagine there are still campaigns that employ push polling these days. Someone picking up the phone is unlikely to remember that the caller represents American Eagle Minuteman Opinion Research or whatever long enough to complain to anyone about it. Most people probably just hang up within the first minute.

Which is the same length of a political campaign or issues interest commercial on television; dishonest ads on social media are even cheaper, and get through to the vast majority who do not answer calls on their cell phones from unknown numbers.

2006

for Q Syndicate, September 2006

Twenty years ago, Gays were effectively banned from military service in the U.S. under "Don't Ask, Don't Tell," a worthless compromise from the Clinton administration with the prior complete and total ban.

The reasoning was that openly gay homosexuals were somehow "bad for unit cohesion and morale." Unit cohesion and morale failed utterly to suffer deleterious effects once the Obama administration lifted the ban on LGBTQ+ soldiers. Even the neo-Nazi and gangster recruits got used to it.

Well, except for one Minnesota National Guardsman who got put in charge of the Pentagon nowadays.

I have a note in the margin of this cartoon that I should have drawn the recruiter with an open collar and no tie. I can't think of any later cartoon I drew set in a recruitment office in which I could have corrected this costume error.

2016

for Q Syndicate, September 2016

I was away from drawing board for much of September, 2016, on a family vacation to Italy, so I left my editors a couple of non-political cartoons to release while I was gone. This one could still be run again today, save that now the President of the United States has weighed in against this kid.

We've just been through the 25th anniversary of 9/11. I thought about basing today's Graphical History Tour on my experience of that day, but I've done that before. I've also blogged about 9/10. And 9/13.

I just don't have any fresh new insight on 9/11, and my own experience was not as directly connected as was many others'. I considered, and rejected, posting some 9/12 cartoons by cartoonists who are no longer with us (Pat Oliphant, Stuart Carlson, Steve Benson, and Mike Ritter, for example).

We were chatting with the owner of a local restaurant Thursday night, and she said that it's hard to believe that 9/11 was a quarter century ago. She was in high school back then, to give you some idea of her frame of reference in saying that. I could have pointed out that on 9/11, hardly any of us had heard of Barack Obama, Sarah Palin, K-Pop, Lin-Manuel Miranda, Aaron Rodgers, or Game of Thrones. 

Donald Trump wasn't even host of The Apprentice yet. 

Speaking of that egomaniacal fascist liar, he came up with a fresh new memory this week of having been hauled away from Ground Zero by two brawny firemen (who, no doubt, had tears in their eyes and called him "Sir"). The organizers of this week's commemoration decided not to give him a speaking role in it, and I'd just as soon do likewise here.

I'll let others who have more personal connections to the events of that day share their non-fabricated, non-embellished memories and, perhaps, some cartoons for those of you too young to have caught them the first time around. Counterpoint's Substack yesterday had anniversary cartoons by some of my progressive, Pulitzer-winning colleagues, if you're interested. 

But as for me, I'm sitting this one out.

Q Toon: Or a Steal at $2.44 Each

The cartoonist who's all about the LGBTQ+ issues wants to draw about the federal debt this week? What gives?

Well, folks, since Trump's Treasury Secretary is openly gay, I'm taking that as an opening to draw about fiscal policy once in a while. I did try to draw about transportation issues during the previous administration occasionally, although Transportation Secretary Pete Buttigieg was a little more public about his private life than Treasury Secretary Scott Bessent is, so some of those cartoons had nothing to do with policy.

When Donald Commodus Trump named Bessent to his cabinet in 2024, the conventional wisdom was that Bessent would be one of the few adults in the room. Unlike the rest of the cabinet of random MAGA hotheads and docile spineless lickspittles, he was supposedly qualified for his post. In my first cartoon about him, my characters Max and Leo predicted that because of this, he'd be gone in ten months.

It turns out that I, Max, Leo, and conventional wisdom were all wrong.

Scott Bessent has gone from being a George Soros and Democrat backer to full-fledged, pass-me-the-Kool-aid, Trump-ass-kissing drone. And if that's not enough metaphorical imagery for you, it looks like he ain't leaving any time soon. There may be time for him to show up in plenty more cartoons.

When  Trump had the East Wing of the White House demolished, Bessent had the windows on that side of the Treasury Department building covered up so that nobody could get a look at, or photo of, the travesty across the street. When Trump wanted Treasury to add his own signature to U.S. currency, Bessent quickly ordered the engravers to get right on it.

When Trump decided he wanted to have his face on a proposed $250 bill, Treasury officials balked because federal law stipulates that "only the portrait of a deceased individual may appear on United States currency and securities." Bessent, however, told Kaitlan Collins, "I don’t think that there’s anything untoward about having the President of the United States on the 250th anniversary bill." 

Apparently, 31 U.S. Code § 5114, on the books since 1866, hasn't stopped Bessent's Treasury Department from minting a bunch of gold-plated one-dollar coins with Donald Still Alive And Bleating Trump glaring out at the suckers willing to shell out $2.44 to own one.

Because what are you going to do with it? Spend it? It is nominally worth only 41% of what you paid for it (or 65% of the $154 you'd splurge on 100 of them). Assuming that it doesn't become a modern day Confederate Dollar on January 21, 2029.

At least the coin has some gold leaf on the outside — perhaps a bit more than you would be able to strain out of a bottle of Goldschläger. That's more than the folks who fell for Trump Bitcoin will have when the con folds up his game and jets back to Mar-a-Lago in his Qatari Trump Force One.

Obsessive minds might have noticed that the number for how many times 1.54 goes into 40 trillion is strangely repetitive. (Had I not rounded the result off to the nearest whole number, those five digits would have continued on forever.) I suppose I could have used the unit price for a single Trump Commemorative Buck, which would have meant the Treasury needing to sell 16,393,442,622,951 of them.

But that sales figure sounds so much more attainable.

Labor Week's Sneak Peek

 I'd like to give a quick shout-out to Mike Peterson at Daily Cartoonist for citing Saturday's post of cartoons from Labor Day, 1926. He's got a bunch of Labor Day, 2026 cartoons at today's Comic Strip of the Day.

There's a lot of worry there about AI stealing everybody's jobs, so here's an even older cartoon imagining the fully automated 21st Century:

Labor Day Toons

It's Labor Day weekend, so today's Graphical History Tour checks out what editorial cartoons were on the newsstands 100 Labor Days ago:

"Labor Day" by Fred O. Seibel in Richmond [VA] Times Dispatch, Sept. 6, 1926

Per Fred Seibel, it was a day for the working man to hang up his workday duds and step out in his best suit, pressed pants, and bow tie. Even his little dingbat (named either Jim Crow or Moses, depending whom you ask) gets all duded up for the holiday.

You might spy somebody sporting that kind of fashion sense this Labor Day, but I think novelty t-shirts and Bermuda shorts are as spiffy as most working guys get for their day off.

"His Day — Their Future" by Joe Tung (?) in Cleveland Press, Sept. 6, 1926

I had a little difficulty making out the signature on "His Day — Their Future." Joe Tung does not seem to be a regular cartoonist for the Cleveland Press editorial page.

These 1926 cartoons all overlook the women in the workforce. They were limited to certain professions: seamstresses, teachers, secretaries, nurses, and sales counter service, to name a few. In this cartoon, I suppose this lady is a housewife, but I doubt that the cartoonist or his editors thought of that as the sort of "labor" the holiday was about.

 The $700 million worth of labor-owned stocks in 1926 promised this idyllic cartoon family a bright future —for about three years.

"His Day of Rest" by William C. Morris for George Matthew Adams Service, ca. Sept. 6, 1926

Now, I realize that Gloria Steinem would not be born for another eight years, but did it not occur to anyone to suggest to William Morris that having twice as many Father's Days in a year as Mother's Days was grossly unequal?

"The Support of the Nation" by Orville P. Williams in New York Evening Graphic, ca. Sept. 6, 1926

Orville Williams enlists Uncle Sam in his tribute to the American Working Man.

"Straight Ahead" by Gustavo Bronstrup in San Francisco Chronicle, Sept. 6, 1926

While Gustavo Bronstrup channels Thomas the Tank Engine decades ahead of his time. 

"A Goodly Share" by Ed LeCocq in Des Moines Tribune, Sept. 6, 1926

Quite a few of the Labor Day cartoons in the Roaring '20's credited the Working Man for the nation's prosperity, and promised him a slice of the pie — or, in LeCocq's case, the watermelon — for his efforts.

"Labor Day" by Bill Donahey in Cleveland Plain Dealer, Sept. 6, 1926 

Bill Donahey makes much the same point, with the same setting, but without needing to label the food or the blanket. Or even to bring Uncle Sam along.

"Labor Day" by John T. McCutcheon in Chicago Tribune, Sept. 6, 1926

I have not been able to find anything about that four-armed labor symbol in John McCutcheon's depiction of a Labor Day parade. Assuming McCutcheon didn't create the tetraskelion himself, whatever labor organization it may have represented most certainly replaced it once the swastika became inextricably linked to Nazi Germany.

In Google AI's opinion of this specific cartoon, "this political cartoon parodies the growing militarism, aggressive rhetoric, and intimidation tactics of the early Nazi movement in Weimar-era Germany by converting the geometric arms of the swastika into literal flexing muscles and punch-ready fists." 

I believe Google AI is way, way off, as evidenced by the gentleman in the foreground of the cartoon saying, "I can remember back before the days of unions, when I used to work for a dollar and a quarter a day. Now American labor is the envy of the world." Nothing at all points to a parody of the Nazi movement in Weimar-era Germany, and you can tell Google AI I said so.

Detail from "A Week in Cartoons" by Marvin P. "Hay" Bales in Daily Worker, Chicago, Sept. 4, 1926

Turning to the opposite end of the political spectrum: a Hay Bales cartoon in the Daily Worker, the only one of today's papers that did not publish on Labor Day, notes an explosion in a mine owned by the Clearfield Bituminous Coal Corporation the previous week. Of the 48 miners trapped by the collapse of the mine walls, only four survived.

It was just one of at least three fatal mining accidents in the United States that September. Sixteen men perished in an explosion near Tahona, Oklahoma one day after the Pennsylvania tragedy. Three miners were killed in a mine collapse outside Ironwood, Michigan three weeks later; 43 others survived after having been trapped for six days.

"Seven Years Old—and Growing Stronger" by O. "Zim" Zimmerman in Daily Worker, Chicago, Sept. 1, 1926 

The Daily Worker celebrated the seventh anniversary of the founding of the U.S. Communist Labor Party and Communist Party of America, which merged in 1920 to form the United Communist Party of America. Continued factionalism, plus federal prosecution of the party's criminal agitators, led to the creation in December of 1921 of the Workers Party of America as a parallel, legal communist organization (later the "Workers (Communist) Party.")

"Right—For Once" by Grover Page in Louisville Courier-Journal, Sept. 6, 1926

Grover Page's mainstream response to Zimmerman twists the words of Leon Trotsky, who had been shoved out of power by Communist Party General Secretary Josef Stalin but was still more familiar in the West than Stalin had yet become. 

There is a hasty, slapdash feeling to Page's cartoon — scribbled at the last moment on a paper napkin, perhaps? — but it's a wry, witty observation on the relationship of Americans and our cars.

With that, have a happy Labor Day weekend!

Q Toon: Exit Stage Right

Far-right provocateur Milo Yiannopoulos found himself the latest victim of the Leopards Eating Faces Party last month.

ICE arrested British-born Yiannopoulos at Louis Armstrong International Airport on Friday for overstayng his visa. Fellow fascist Laura Loomer is claiming credit for ratting Yiannopoulos out to the Feds; he was arriving in New Orleans for a concert by Kanye "Ye" West, with whom Yiannopoulos has been associated in recent years.

Identifying as gay in the '00's and ’10's, Yiannopoulos made a career out of being an offensive internet troll, insulting women and Muslims, and basically anyone to the left of Emperor Palpatine. As a columnist for Andrew Breitbart's website from 2014 to 2017, Yiannopoulos had been an early and vocal advocate for Donald Trump's 2016 presidential campaign, especially his anti-immigration plans. 

In February of 2017, he was forced out from Breitbart, cancelled at CPAC, and lost a book contract, after audio surfaced of him defending some sex between teens and adults as “perfectly consensual” and calling some teen-adult sexual interactions “coming-of-age relationships." Exactly the sort of "groomer" stuff conservatives have long used to vilify LGBTQ+ people.

Since then, he has decided that he is no longer gay, telling a Catholic anti-abortion website that he was "living as brothers" with his then husband. (To nobody's surprise, that marriage has not lasted.) In 2022, he signed up to be an intern for then Congresswoman Marjorie Taylor Greene; he also got in on the ground floor of Kanye West/Yeezy/Ye's 2024 abortive presidential campaign.

According to the Department of Homeland Security, Yiannopoulos entered the U.S. legally in 2019 on a tourist visa, which he overstayed. A final order of removal was issued for him after he missed an immigration hearing in July. 

Yiannopoulos last summer tweeted of masturbating to videos of ICE raids, so it is impossible to muster any vestige of sympathy for the guy.

Besides, England agreed to take him back. It's not like ICE dumped him in South Shitholestan somewhere.

Deciding how to draw Mr. Yiannopoulos wasn't easy, by the way. The guy has changed his hairstyle more often than Cher, and has packed on the pounds and shed them back off. In most photos, he's wearing glasses or shades, which didn't seem appropriate for the setting of the cartoon. I opted for his signature 2017 look, but in what is either his passport or current mug shot, he appears to have quit bleaching or dying his hair, and sports a modest mustache with a modicum of jaw-line whiskers.

Has to be a mug shot. You have to can't have stuff in the background of a passport photo.