Clean-up in Aisle Beback

Today's Graphical History Tour catches up on a few news items from a century ago that we left unresolved last Saturday, and had overlooked in previous episodes.

We'll start with the inconclusive federal election in Canada, in which the coalition government of Liberals and Progressives suffered significant losses, but without giving the Conservatives a majority in Parliament.

"Tit for Tat" by Ed LeCocq in Des Moines Register, Nov. 2, 1925

A major issue in the 1925 campaign particularly a propos today was tariffs against United States imports: the Conservatives wanted them raised, while the Liberals and Progressives were opposed. I posted some Canadian cartoonists' arguments for and against higher tariffs last week; Ed LeCocq, filling in for "Ding" Darling at the Des Moines Register, is the only cartoonist from across the line I've found addressing the issue.

"After the Assault" by Sam Hunter in Toronto Star, Nov. 3, 1925

Cartoons by "Passepoil" in last week's installment showed Baptiste Ladébauche, the characterization of French Canada, mocking Québécois Conservative Esioff-Léon Patenaude. This cartoon by Sam Hunter in Toronto, with his own version of M. Ladébauche, cheered Patenaude's election loss as a rebuff to "Montreal big interest dictation" and "Montreal Star dictation." The "Noble Lord" in the cartoon is the founder of the Montreal Star, Sir Hugh Graham, 1st Baron Atholstan, who had sold the newspaper earlier that year but still had a hand in its management.

By the way, it seems that at least for now the identity of "Passepoil" will have to remain a mystery. His cartoons on the front page of Le Canada stopped abruptly after the 1925 election. Since his version of Baptiste Ladébauche was virtually identical to that of Albéric Bourgeois, I have to wonder whether those two cartoonists were one and the same.

"And the Cat Came Back" by Arthur G. Racey in Montreal Star, Nov. 5, 1925

Over at the Montreal Star, A.G. Racey was hugely disappointed that Prime Minister William Mackenzie King was back at Canada's doorstep in spite of his party having lost 18 seats in Parliament — including his own.

King managed to stay in Parliament by getting one of the other members of his party to resign so that King could run in his place. Somehow that's perfectly acceptable in a parliamentary system, even though King had represented a Toronto, Ontario neighborhood, and the guy who gave up his seat for him represented Prince Albert, Saskatchewan.

In my country, we call that carpetbagging.

"When the Western Train Comes In" by Sam Hunter in Toronto Star, Nov. 17, 1925

Sam Hunter used a different baggage reference to depict the Conservative and Liberal leaders wooing Progressive leader Robert Forke. The Progressives' 22 seats would be more than Conservative leader Arthur Meighen needed for a majority, but not enough to do the same for King's Liberals. Ideologically, however, they had little in common with Meighen's party.

"Still Going Strong" by John T. McCutcheon in Chicago Tribune, Nov. 4, 1925

I have overlooked some of the other elections taking place in the fall of 1925, the most prominent of which in the U.S. was for mayor of New York. I presume that since William Randolph Hearst supported the incumbent, John Hylan, cartoonists for his New York newspapers were obliged to do the same; I unfortunately do not have any examples of them. Brooklyn Daily Eagle cartoonist Nelson Harding, on the other hand, attacked him relentlessly throughout his term in office.

"Trimming His War Bonnet" by Dorman H. Smith for Newspaper Enterprise Assn., ca. Nov. 9, 1925

Hylan, a somewhat dull-witted fellow who was not a particularly good public speaker, lost the Democratic Party primary in September to flashy man-about-town Jimmy Walker, a protegé of Governor Al Smith. Charismatic and benefiting from a smear campaign out of Tammany Hall, Walker easily bested the Republican candidate, pen magnate Frank Waterman, by 35 percentage points, and would go on to be one of the city's most colorful, albeit not ethical, mayors.

"Washington Bedtime Story" by Ed LeCocq in Des Moines Register, Nov. 1, 1925

Updating this page's cartoons of Wisconsin's special election of Robert M. La Follette, Jr., to succeed his late father in the U.S. Senate, we have a belated Hallowe'en cartoon by Ed LeCocq. "Young Bob" was elected as a Republican, but with the active opposition of the national GOP. Republicans grudgingly accepted his landslide win as at least adding to their numerical majority in the Senate, trusting that, as the Senate's most junior member, he wouldn't be as much of a problem to them as La Follette Sr. had been.

"Nathan Hale—Mitchell" by Tom Foley in Minneapolis Star, Nov. 2, 1925

Wisconsin has a tie to one other news item that I've overlooked: Army Brigadier General Billy Mitchell was demoted to colonel, then court-martialed for insubordination in November of 1925. A commander of all American air combat units in France during World War I, he advocated after war publicly and strongly that the next war would be fought in the air, necessitating the creation of a separate Air Force.

"Chief Witness for the Defense" by W.A. Rogers in Washington Post, Nov. 3, 1925

This antagonized Army and Navy brass, who were more interested in beefing up the nation's fleet of battleships, particularly because he accused them of "an almost treasonable administration of the national defense."

"Did I Get Him" by Bill Sykes in Philadelphia Public Ledger, ca. Nov. 14, 1925

Convicted of insubordination in December, Mitchell resigned his military commission the following February. Later events would vindicate Mitchell's views, although the Army refused to reverse Mitchell's court-martial conviction on the grounds that, right or wrong, he had still been insubordinate. World War II led to establishment of the U.S. Air Force in 1947.

By then, Mitchell had been dead for eleven years. He is buried in Forest Home Cemetery in Milwaukee, Wisconsin, a city whose international airport has borne his name since 1941.

The Ass in a Lion's Skin

Aesop's Fable Updated

 An Ass found a Lion’s skin left in the forest by a hunter. He dressed himself in it, and roamed about in the forest amusing himself by frightening all the foolish animals he met in his wanderings. All took to their heels the moment they saw him.

The Ass was so pleased to see the animals running away from him, just as if he were King Lion himself, that he could not keep from expressing his delight by a loud, harsh bray. 

A Fox, who ran with the rest, stopped short as soon as he heard the voice. Approaching the Ass, he turned to the other animals and proclaimed: "Behold! Here is Lion, King of the Beasts, here to Make America Great Again!"

The Muskrat twittered Xcitedly, "All hail King Lion!" And he leaped and  jumped for joy.

The Zuckerbird agreed. "Whatever you say!"

Then the canary chirped, "But he's an ass!"

The Wapopotamus and the Raccoon-cheong turned sharply to her. "Be quiet!" they grunted and hissed. "Are you trying to get us in trouble?"

And the creatures bowed and prayed to the Lion King that brayed.

Quel Hommage

Today's Graphical History Tour dives into the archives in my basement and comes up with a quartet of cartoons from Januaries from decades ago.

I mentioned earlier this week that some of my fellow editorial cartoonists mimicked Ann Telnaes's drawing style in their #StandWithAnn cartoons, while I and others had not. I've drawn a number of cartoons over the years in the style of other artists, particularly when appropriating their ideas. Other times, I have simplified the drawing, as in this one:

in UW-P Ranger, Kenosha Wis., Jan. 31, 1985

I was referencing a nearly 75-year-old cartoon drawn by Puck cartoonist Johannes Keppler when then-President William Howard Taft was having similar problems getting his legislative agenda through Congress and the courts.

"I Must Have Been Dozing" by Johannes Keppler in Puck, June 22, 1910

I didn't include anywhere near as much shading, the window, the doorway, or anything outside the room, but I kept the Capitol sewing basket, the table it rested on, and two of the cats.

Now, there was a problem with my cartoon in that hardly any of the Ranger's readers would have had any reason to be familiar with the original Keppler version. Not even the professors would have had a subscription to Puck magazine in 1910; only someone else with The American Presidency in Political Cartoons 1776-1976 (Peregrine Smith Inc., 1976) could possibly have caught the reference.

The message of the cartoon still applied, and should have been understood by anyone paying any attention to current events; but as a tribute, the cartoon was, frankly, just stealing an old idea.

Reusing someone else's old cartoon works best if the original cartoon is (or ought to be) well known: Thomas Nast's "Who Stole the People's Money," or Charles Schulz's cartoons of Lucy yanking the football away from Charlie Brown. I am reminded, however, of a recent cartoon by a fellow editorial cartoonist that referenced a specific episode of The Simpsons. According to the reader comments, I wasn't the only person who had missed that particular episode and therefore the reference.

Then there was the time that I drew a cartoon for the NorthCountry Journal relying on a reference to "Calvin and Hobbes," a very popular comic strip running in many newspapers at the time. The NCJ editor and publisher, however, had never seen "Calvin and Hobbes," so I had to explain it to her and assure her that her readers would get the cartoon.

By the way, the credit line under my signature in my Ranger cartoon says "again," because I had drawn a cartoon the previous November about Ronald Reagan's reelection, based on a Keppler cartoon celebrating Teddy Roosevelt's 1905 inauguration. I don't suppose many Parkside students or faculty were familiar with that cartoon, either.

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in UWM Post, Milwaukee, Jan. 30, 1995

I include this cartoon in part to set up a subsequent homage cartoon. Dick Armey (R-TX) was the new House Majority Leader in the 104th Congress, and one of the architects of the 1994 Republican Revolution.

During a January 20, 1995 radio interview, Armey referred to fellow Congressman Barney Frank (D-MA), the only out gay man in Congress, as "Barney Fag." The quote, verbatim, as Armey was discussing a possible book deal, was: “I like peace and quiet and I don’t need to listen to Barney Fag, [pause] Barney Frank, haranguing in my ear because I made a few bucks off a book.” 

The slur was reported by several radio networks, and Armey blamed the media for reporting on what he claimed was an audio glitch, not a slip of the tongue or intentional insult.

Rep. Frank refused to accept Armey's excuses, saying, “There are a lot of possible ways to mispronounce my name but that one, I think, is the least common, ... I turned to my own expert, my mother, who reports that in 59 years of marriage, no one ever introduced her as Elsie Fag.”

✍

in Business Journal, Milwaukee, Jan. 21, 2005

A propos the Washington Post editor's excuse for spiking an Ann Telnaes cartoon on the grounds that it reiterated past and future opinion columns, here's one of the many cartoons I drew for the Business Journal of Greater Milwaukee reiterating the editorial it ran alongside.

That was, in fact, the role I was expected to fill at the Business Journal from 1996 to 2005. I was brought in to replace conservative cartoonist Craig DuMez, who had often drawn whatever was on his mind. The editors at the Business Journal were interested in having editorial cartoons that reflected the week's editorial — which weren't always as far to the right as DuMez was.

Or, in this case, political at all.

I've never met the guy, but DuMez might have chafed at having to draw as many cartoons about hospital expansions, mergers, and construction as I had to do in my nine years with the Business Journal. This editorial had something to do with an addition to Froedtert Hospital, which the Beej hoped wouldn't be tarted up with a bunch of fancy frills — the sort of things one assumes architects dream about and hospital planners hope will make patients feel they're in a five-star hotel.

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for Q Syndicate, Jan., 2015

Finally, 2015 was going to be the year that the Supreme Court discovered that criminalizing same-sex marriage discriminated against same-sex couples, so Republican legislatures around the country were desperately preparing mechanisms to keep unconstitutional discrimination legal.

This is one of my cartoons in which the characters are not based on real people, even if their actions or opinions are based on those of actual persons. My clue to the reader that I've made up the person in the cartoon is if their name is somehow a pun.

You might find Lauryl's name in the list of ingredients on your shampoo bottle. Senator Beautron can be found overlooking a sports arena and displaying scores, stats, and replays.

I was considering last names for my latest recurring characters, MAGA Max and Liberal Leo, whom I named purely for the alliteration. "Headroom" has already been taken, so perhaps Max's surname should be K. Passidy. Or something less obvious, like Carpone. How about O'Delay, Leo?

I'll have to get back to you on that.

Post Waste

Editorial cartoonists have been buzzing this weekend over a cartoon by Pulitzer Prize winning Ann Telnaes that was spiked by her employer, The Washington Post, causing her to quit the job. The cartoon would have portrayed Post owner Jeff Bezos, Los Angeles Times owner Patrick Soon-Shiong, Facebook-Meta founder Mark Zuckerberg, AI CEO Sam Altman, and Disney's Mickey Mouse prostrate before a colossus Donald Trump, offering him/it bags of cash.

Telnaes explained on her Substack, where you can also find her rough sketch of the cartoon:

“As an editorial cartoonist, my job is to hold powerful people and institutions accountable,” Telnaes wrote. “For the first time, my editor prevented me from doing that critical job. So I have decided to leave the Post. I doubt my decision will cause much of a stir and that it will be dismissed because I’m just a cartoonist. But I will not stop holding truth to power through my cartooning, because as they say ‘Democracy dies in darkness.’”

The Association of American Editorial Cartoonists (AAEC) came to Telnaes's defense with a strongly worded statement:

"… The AAEC condemns the Post and their ethical weakness. Editorial cartooning is the tip of the spear in opinion, and the Post’s cowering further soils their once-stellar reputation for standing up and speaking truth to power. We weep for the loss of this once great newspaper…

We request that all editorial cartoonists do a finished version of her rough and post it in solidarity with Ann’s brave and sadly necessary decision. Please use the hash tag #StandWithAnn…"

I therefore add my two cents to the conversation:

The bruhaha has been reported all over the internets. I suppose, in fairness, one should let the head honcho at WaPo have his say, too.

The Post’s communications director, Liza Pluto, provided The Associated Press on Saturday with a statement from David Shipley, the newspaper’s editorial page editor. Shipley said in the statement that he disagrees with Telnaes’ “interpretation of events.”

He said he decided to nix the cartoon because the paper had just published a column on the same topic as the cartoon and was set to publish another.

“Not every editorial judgement is a reflection of a malign force. ... The only bias was against repetition,” Shipley said.

As any editorial cartoonist will tell you — and several already have — editors have never shied away from printing an editorial cartoon that buttresses an editorial column in the same newspaper. Good God, man, that was my entire job description with the Business Journal of Greater Milwaukee.

I had not been among the thousands canceling subscriptions to the Post last fall when its management spiked an editorial endorsement of Kamala Harris for President. That was in large part because I appreciate and enjoy Ann Telnaes's cartoons.

I'm now subscribing to her Substack. Soon, the newspaper publishing model for our profession will be dead and we editorial cartoonists will all be trying to live off each others' subscriptions to our own Substacks.

Meanwhile, if you want to subscribe to the Post, it continues to publish the cluttered, right-wing editorial cartoons of Pulitzer Prize winning Michael Ramirez, and editorial cartoons about mulled wine, neither of which risk getting Mr. Bezos on Donald Trump's Enemies List.

Democracy Dies

P.S.: Thanks a lot, Bezos.

P.P.S.: If you're looking for this week's cartoon cartoon, I posted it last night, while there was still a faint glimmer of light amid the gathering gloom.

Q Toon: Cancel Culture

The odd couple of Liberal Leo and MAGA Max make their third appearance this week, telling a vote canvasser that they had both cast their ballots early. (I had to script their dialogue so that it would work in case the deadline for early voting had passed in the locales where they might be published. Originally, I had the canvasser herself promoting early voting.)

My better half and I have already voted, which has done nothing to stop the instant messages, phone calls, and hysterically desperate emails hounding us to vote, volunteer, and THIS IS THE FIFTEENTH TIME WE'VE WRITTEN YOU TO SEND US MONEY!

(No it isn't. I delete 100+ such requests every freaking day.)

In the final panel of this week's cartoon, Leo and Max reference the decision imposed by the owners of the Washington Post and Los Angeles Times to spike editorials by their respective editorial boards endorsing Kamala Harris for President. Thus granting tacit equivalence to the candidacies of center-leftist Harris and fascist, racist, extremist grifter Donald Berzelius Trump, the decisions by Jeff Bezos and Patrick Soon-Shiong have resulted in a deluge of subscriber cancelations in protest.

Soon-Shiong’s daughter claims that her father’s diktat comes in protest of the Biden administration’s supplying weaponry to Israel in spite of its on-going wholesale slaughter of Palestinians. Fair enough.

But the chances of a Harris administration reining in Mr. Netanyahu, while slim, are much greater than a second Trump administration doing so. The first Trump administration’s only action regarding the Palestinian problem was sending his son-in-law to sit down with Netanyahu and draw up the Palestinians’ terms of surrender.

For his part, Bezos had the Post publish his excuse for killing its endorsement editorial. As I understand it, he's just returning the Post a simpler, more innocent time before color television when it didn't make such endorsements. And pay no attention to the corporate interests behind the curtain.

He did not explain why this sudden policy change came a mere eleven days before Election Day — as opposed to eleven months ago — or even eleven weeks ago when the Post editorial board was writing editorials essentially calling upon President Biden to drop out of the race for the good of the nation.

(I apologize to those of you among the 200,000 who canceled their Washington Post subscriptions this week for those three links to articles you cannot read. I still value its news department's reporting too much to cancel mine, not to mention the wit and wisdom of such as Ann Telnaes, Eugene Robinson, Alexandra Petri, and Dana Milbank. They can't all have their own substacks, can they?)

Anyway, to nobody's surprise, Trump is now telling his devoted minions, “The Washington Post and Los Angeles Times, and all these papers, they’re not endorsing anybody. You know what they’re really saying — because they only endorse Democrats — they’re saying this Democrat’s no good. They’re no good. And they think I’m doing a great job. They just don’t want to say it.”

So, Bezos, ya wanna try writing another op-ed about how when they came for democracy, you said nothing, because you weren't a Democrat?

Antisapientic Cartoon Decried

To the editor of the Warshinton Post-Malone:

I was profoundly dismayed over the blatant mockery of human beings in the January 20 editorial cartoon. This caricature is outrageously offensive, despicable, and blasphemous, not only to the human beings who are unfairly and racistly portrayed, but also to the countless innocent homo sapiens, living and dead, who have ever existed since the beginning of time. It is a morally reprehensible depiction that implies a justification for the drawing of antisapientic editorial cartoons by "quote" editorial cartoonists "end quote," including women and children. An apology, not just to readers, but to the countless victims of editorial cartoonists, is in order.

Why can't we see more courtroom sketches and cartoons about kittens?

Severely,

Tigger McBoots, editorial illustrator (Mrs.)

For Whom the Toon Toles

by Tom Toles in Buffalo News, September 27, 1984

Washington Post editorial cartoonist Tom Toles is closing up shop after tomorrow, so today's Sankaback Saturday is devoted largely to my personal favorites of his cartoons from before he was hired by the Post. And I have to give the Post credit for hiring a cartoonist who was so very different from his predecessor there, a Washington institution in his own right, the undisputed dean of the profession, Herbert Block.

I was instantly taken with his simplistic style and craftily pointed humor when he burst onto the scene in the early 1980's. It would be interesting to see his pre-syndication cartoons for the Buffalo Courier-Express, which folded in 1982, to get some idea of how his artistic style — so unlike the Oliphant and MacNelly clones of the day — evolved.* I assume that his style of humor, which often comes at you from unexpected directions, was evident from the beginning.

in Buffalo News, June 21, 1984

His colleagues were equally impressed. The late Jeff MacNelly wrote that he was crazy about Toles's "masterful timing and comic staging" and "graphic goofiness." Mike Peters admired his "satire in the Jonathan Swift tradition of satire." Jules Feiffer blurbed, "There exists a school of thought, led by me, that wonders why Tom Toles has not yet wan a Pulitzer Prize"; so in 1990, to nobody's surprise, he won one.

in Buffalo News, March, 1983

If I can wax pedantic for a moment, "Hunting the Hazardous Substances" illustrates the Toles approach to an idea. Many cartoonists, if they came up with this idea for the Reagan administration's attitude toward environmental protection, would have drawn the third panel as a stand-alone cartoon. The pacing established by the four-panel format sells the idea so much better than the third panel alone would. (The reference in the lower right corner to burnt EPA documents is a bonus.)

in Washington Post, November 14, 2002

Sticking with the topic of the environment, I include this one Washington Post cartoon to demonstrate how masterfully Toles tied together two separate news stories in a way that made readers wonder why they hadn't connected the two items themselves.

in Buffalo News, July, 1990

I would be remiss if I didn't include a couple cartoons about American presidents. This one about George H.W. Bush's nomination of David Souter to the Supreme Court is an excellent example of Toles carefully setting up a pay-off that comes from a completely unexpected direction. It plays off the unfair characterization of Bush being a wimp without playing into it, while still using it to make the cartoon's point.

in Buffalo News, May 14, 1993

Toles's minimalist caricatures have been instantly recognizable even when they diverge wildly from portraiture. His George W. Bush, for example, had ears sticking way up from the top of the man's head like no animal you have ever seen; but Toles drew him that way consistently and readers always knew who that figure was. He drew Obama with big ears, too, but then, so did everybody else. His Trump is appropriately grotesque.

in Buffalo News, ca. June, 1986

Since this here blog skews gay, here's Toles being gay-friendly back in 1986, when the Supreme Court ruled that Georgia's anti-sodomy laws were constitutional in Bowers v. Hardwick, a case involving the arrest of one Michael Hardwick for having consensual homosexual sex in the privacy of his own bedroom. Other cartoonists may well have had the same idea in this cartoon, I suppose, but if so, probably only drew the police officer intruding in the couple's bed. Or the judge. Or a legislator character. Toles takes the idea and keeps spinning it out well past absurdum, and the result is worthy of standing next to Justices Blackmun's and Stevens's dissents.

Finally, a Tom Toles "I Told You So" from the early days of the technology enabling you and me to have this conversation, and others to share their insights about liberals drinking children's blood in a network of tunnels linking pizza parlors around the country:

in Buffalo News, September 8, 1994

________________

* Update: D.D. Degg at Daily Cartoonist has dug up one of Toles's Courier-Express cartoons, and even some juvenalia.

Wham, Bam, Thank You, Starman

Eulogy cartoons tend to be the most popular ones we editorial cartoonists draw. They're also the ones we roll our eyes over and usually consider our most hackneyed work.

On November 22, 1963, Bill Mauldin hastily drew a cartoon of the Lincoln Memorial statue bent over weeping, in reaction to the assassination of President Kennedy, and it became his most memorable cartoon ever (at least outside of his Willie and Joe œuvre). Bob Englehart hit the bulls eye with a cartoon of Alice Kramden sobbing on the table in the Honeymooners kitchen after the death of Jackie Gleason.

But having a tear drop from whatever person, creature, object or symbol was most associated with the dearly departed is such a cliché that most cartoonists try to avoid it. The pull may be too great, as with the death a few years ago of George Harrison. How could you not draw a guitar gently weeping? It's not as if you could wrest a eulogy out of "I Me Mine." And bringing up "My Sweet Lord" would have been in very poor taste.

So there was an onslaught this week of cartoons eulogizing David Bowie, who had the immense foresight and courtesy to leave behind several lyrics malleable to the situation. Unfortunately, it takes much longer to draw a cartoon around "The stars look very different today," "I'm stepping through the door," "Time may change me, but I can't trace time," or "The Man Who Fell to Earth" than it takes for half a million Facebook, Twitter and Instagram users to type the same thing onto a downloaded photo and repost it on the internet.

Frankly, unless one has a personal angle for the cartoon (see Pat Oliphant's cartoon recalling having drawn a band-aid on Gerald Ford's forehead), there really isn't an awful lot a cartoonist can contribute that nobody else can. My only connection to David Bowie is that I named a D&D magic user after a character in a Bowie song, so I'm not drawing a Diamond Dog shedding a tear, or whatever lyric is left still untouched.

Not that I won't ever draw a eulogy for someone I've never met. I drew the cartoon at the top of this post after the death of Washington Post editorial cartoonist Herbert Block, without anywhere to publish it but my own blog. (I had a caption for it, set in Bodoni type because that's how Herblock's cartoons appeared in the Post, but I didn't write it on the cartoon and I've forgotten what it was.)

I drew the cartoon at right for the Milwaukee Business Journal to accompany their editorial mourning the death of Quad Graphics founder Harry Quadracci. He didn't have a catalog of malleable song lyrics, but he was known for his successful printing business and his bow ties, so I limited the drawing to those two things. I like the composition, but I do wish I'd made him a little less cross-eyed.

I've eulogized heads of state, entrepreneurs, movie stars, authors, and activists -- none of whom I've ever met -- but my personal favorite in this field remains my 1999 cartoon upon the death of Quentin Crisp. Crisp, one-time rent boy turned raconteur, wit and actor, made famous by his autobiography, The Naked Civil Servant, was flamboyant and contrarian to the end. So, for Q Syndicate, I drew this.

Old link I just stumbled upon

I had no idea at the time, but a 2008 cartoon of mine caught the attention of Dan Froomkin, late of the Washington Post, at the very end of this article. As I recall, I was not the only person to make the semantic observation about "timetables" vs. "time horizons" for troop withdrawals from Iraq.

This is the cartoon:

(click here to view)

Paul Berge Racine PostJul 24, 2008 EditorialCartoonists.com