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GETTING
I
iRY
SIX TIMES A WEEK
A PORTFOLIO OF
POLITICAL CARTOONS
14
MAJOR CARTOONISTS
F.
Westin
2012
http://archive.org/details/gettingangrysixtOOwest
GETTING ANGRY
SIX
-a
A
;
TIMES
A WEEK
GETTING ANGRY
SIX
TIMES
A WEEK
A PORTFOLIO
OF POLITICAL CARTOONS
14
MAJOR CARTOONISTS
edited with an introduction by
ALAN
F.
WESTIN
profiles
by
ALBERT ROBBINS
and
RANDALL ROTHENBERG
BEACON PRESS
BOSTON
acknowledgment
Grateful
made
is
sion of
Draper
The Washington
Hill
Star.
Copyright
cartoons: Page 156
Reprinted by permission of The
by The Commercial
Appeal.
Commercial Appeal.
Pages 157-160 Copyright
1979 by The Detroit News, distributed by King Features Syndicate. Reprinted by permission.
Copyright
Published simultaneously
Fitzhenry
& Whiteside
in
Canada by
Limited, Toronto
(hardcover)
(paperback)
987654321
987654321
six
title:
times a week.
United
Caricatures and cartoons.
Cartoonists
Caricatures and cartoons.
Westin, Alan
United
Biography.
States
1.
Politics
2.
States
Civil rights
3.
States
741.5'973
1979
ISBN 0-8070-4378-8
ISBN 0-8070-4379-6 pbk.
E839.5.G43
F.
I.
79-51553
Rights, Inc.
CONTENTS
Introduction
ALAN
F.
vii
WESTIN
What
This
Is
BILL
SANDERS
the
Bill
of Rights
Is
All
About
13
the Right to
27
MIKE KEEFE
Hitting
37
DON WRIGHT
Have a Bent
PAUL SZEP
I
A Mindset
49
for Satire
of Absolute Irreverence
61
BEN SARGENT
Things
DOUG
MARLETTE
MAULDIN
A Good Cartoonist
Ever Expected
Uncommon Men
73
Suppressed
85
BILL
Is
like a
Loaded Gun
95
MIKE PETERS
The Constitution
PAUL CONRAD
Is
a Hell of a
Document
105
to See
115
TONY AUTH
Getting Angry Six Times a
Week
127
HUGH HAYNIE
Sometimes Lash Out
PAT OLIPHANT
I
at
Both Sides
DRAPER HILL
139
151
INTRODUCTION
ALAN
F.
WESTIN
lolitical
fasci-
the 1970s.
one
in
David Low.
In the United
plified the early
States, amateur artist Benjamin Franklin exemAmerican tradition when he drew the famous
Tweed and
in
his
Tammany
in
New York
City
pictures!"
From the
American
political
Civil
Stephen Hess and Milton Kaplan, The Ungentlemanly Art (New York:
MacMillan, 1968).
1.
VII
Today, both
in
numbers
awesome
despite the
and
of artists
in
news
we
process,
are
in a
golden age of
political cartooning.
This
case, nor
is
Therein
lies
a story
War
worth
down
sistent
II
cartooning the
way
it
was
telling.
and placard
have had several conelements. They have generally been comments on
of etching, broadside,
and
have reflected
still
how were
civil liber-
early nineteenth-century
2.
A Century
VIII
of Political Cartoons:
(New York:
Scribners,
background, "Through the South freedom of assemblage, freedom of speech, and freedom of the press were rigidly restricted. The right of petition, the free use of the mails, and in
some instances the right of jury trial were denied. These
invasions of fundamental Anglo-Saxon liberties, with repeated
instances of mob violence, converted many fair-minded
Northerners to an anti-slavery position." One response was a
lithograph cartoon published in New York called "Joshua
Commanding the Sun to Stand Still." It showed the South
Carolina political leader John C. Calhoun pointing to a small
printing press in the sky designed to look like a sun and
announcing these words (in the traditional balloon over the
speaker's head) "Sun of intellectual light and liberty, stand ye
still, in masterly inactivity, that the Nation of Carolina may
continue to hold negroes and plant cotton till the day of
Judgment!"
As our two examples suggest, political cartoons, then as
now, invoked the symbols and sentiments of liberty to advance
viewpoints of the cartoonists (and their publishers) that ranged
all across the political spectrum of each era. This can be illustrated by two famous cartoons during the early decades of the
Republican Party. The first, drawn by Louis Maurer in 1856 and
issued by Currier and Ives, portrayed the presidential candidate of the new Republican Party, John C. Fremont, as a leader
of all the radical groups of the day. In "The Great Republican
Reform Party Calling on Their Candidate," Maurer lined up the
following suitors pressing their demands on Fremont:
:
a gaudily attired,
line,
declaring,
arter dat,
you,
this
Sir,
to place the
power
of the
in
country."
for
we
are
all
Freemounters."
IX
a tramplike
clutched
in his
property
is
Woman's
a representative of the
Women
as the equal of
man
with a
A decade
later, after
in
in a
down by
civil
women's
mainstream
cartooning in this era was overwhelmingly hostile to the civil liberties claims of such groups. "To the
end of the nineteenth century," Nevins and Weitenkampf
record, "no sharply radical notes were struck by the major
cartoonists." Women's rights advocates were generally lampooned as absurd; minority religious groups (notably Catholics
and Jews) were treated with a contempt that reflected dominant anti-Semitic and anti-Catholic bias; after the end of
Reconstruction, Negroes came to be treated as inferior children, through Southern eyes; cartoons became more and more
of
American
political
and Eastern
and
attacked the
rights.
civil
trusts, political
Fitzpatrick in the
St.
Louis Post-Dispatch, or
were
Edmund Duffy
in
antilabor, segregationist,
An important
Court.
War amendments
of contract, and
Bill
of Rights
and the
Civil
who
appealed
wished
it
it
new
civil liberties
decision of
\i
the
concepts of
when
rights.
World War
II,
tributed
some
of the
cartoons against
most eloquent
racial
political
segregation con-
commentaries
of those decades.
XII
issue of the
Review
after that
representative selection of
civil liberties
Paul Szep
The
written,
XIII
reason for this, other than the facj that the field has been
dominated by white males for such a long time-that it has been
difficult for women and minorities to break in. It may also be
that the visibility of the daily cartoonist's output has
made
women
civil liberties
one claim
definition, strategy,
and
tactics arise, or
when
who
many
current
XIV
GETTING ANGRY
SIX
TIMES
A WEEK
THIS
IS
WHAT
OF RIGHTS
IS ALL ABOUT
THE
BILL
BILL
SANDERS
sial,'
if you
upon."
Sanders has taken his love of humor, penchant for controversy, and firm belief in civil liberties and combined them to
become one of the best-known editorial cartoonists in the
country. His awards from groups as diverse as the National
Collegiate Athletic Association and the Milwaukee Civil Liberties Union attest that his efforts have not gone unrecognized.
Those efforts would have been difficult to ignore anyway:
from the time he joined the journal in 1967 until recently, his
cartoons appeared every day on the front page, and they have
been widely reprinted in the national media.
Sanders, whose work the Saturday Review claimed "can
make the opposition gag on its breakfast" did not peg himself
for this line of work early. By his own admission, he was a
"dumb jock" in college. Although modesty prevents him from
detailing his accomplishments, a little digging reveals that
Western Kentucky State College quarterback "Whitey" Sanders
set an NCAA passing record during his senior year. With an
ROTC commitment to fulfill, he entered the army, assuming
he'd spend a couple of years there before playing pro football.
"I played some ball down at Fort Benning, and then went
that
life is
commitments
to act
"I
remember
thinking,
said them
would like
guess
to
do/
it
was
at that point
said, 'That's
what
"
because
about.
It
is all
his first
name
seriously
and the
Bill
On
who
MILWAUKEE JOURNAL
THE MILWAUKEE
general public!'
more of this
Look,
we
but bussing
is
an
artificial
means that
doesn't solve
the problem f
The problem
is
how to
^r/^5^
THE MILWAUKEE JOURNAL
'I
'And
to the
The US Supreme
is
concerned!'
Remember when
this
used to be a stairway?'
JULES FEIFFER
audience
last year,
political cartoonist
can
"there
than
is
will.
ill
While
Feiffer
reac-
his erstwhile
their
smarmy
glory. Feiffer
as
is
he
in
in
what he
Nor does he
attacking
calls
restrict
just as likely to
belief
is
that everything
is
politics
which combine
to
make
politics
politics
life,
14
as a
way
found
crazy, or
Feiffer's
"Munro,"
way
propelled
my
of expiating
way
me
and
grief
to deal with
of dealing with
a cartoon story
it
about
into the
rage.
One
world of
either
satire,
went
it."
was
to begin
work on
boy who
a four-year-old
"first
anxieties of
is
politics.
"He
is
at
who
da Vinci a painter:
artist,
It
And
is
the
ill will, hostility, rage, and hatred that he prizes in his cartooning are evident in his plays and novels as well. Curiously,
he backed into writing. Bored with cartooning and owing
Playboy $5000 for undelivered work, he decided to take care
of the debt by dashing off some stories. The result was his first
novel, Harry, the Rat with Women, and a new career. A few
years later he tried playwriting and discovered that he had a
facility with it. Today, he says, "I find if I'm not doing both
writing and cartooning,
don't really want to be doing
I
anything."
Feiffer
is
a bit.
15
"I've always
my name
been willing
to
be
"A
lot of
Among
civil liberties
questions.
"My
interest
doxy the
Bill
is
of Rights
is.
Our
It's
that interests
civil liberties,
the contradictions,
me."
admits that he
is
in
seems
history
is
to
me
was created
place
its
what we need
to sell the
Bill
is
moment
in
our
ACLU
convention
how
practice
civil liberties
is
16
outrageous or
it
may
often prove to
of
it
last
distortions
in their lives
at this
despite
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WHAT GIVES ME
THE RIGHT TO MAKE
THESE COMMENTS?
MIKE KEEFE
situation.
"I
get paid to
about
would
to
know
what's happening
live.
can't
know
lot of people
wonderful way
happening, but it is kind
something a
I
think
everything that's
it's
that over-
view. In fact, before landing the job at the Post he was "stuck
in
math
community
his Ph.D. in
at
in
survival.
history.
28
going on."
Working for the Denver Post, the paper that first propelled
Conrad to national prominence, and following directly
on the heels of Pat Oliphant, Keefe says he was rather intimiPaul
dated by that newspaper's proud heritage of political cartooning. He also believes his "greenness" allowed the Post "to
put their thumb on me a little bit" in the beginning, and
prevented him from immediately establishing a political and
artistic style. He places the break-point at about a year ago.
His drawing developed when he decided to use plain white
paper, eschewing the gray-toned graphics of most cartoonists.
He
also
found
weekly output
is
While he favors
women's
rights.
Anita Bryant."
29
30
'WOMEN PRINTS'
GOP, $1MC
rue (xxvckpoo- 7i
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IN Trl
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THERE'S
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HAS TO SIT
IN
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RTP0WPERCCS0METWM6t
7HUM/&<kGr7e
HITTING BETWEEN
THE EYES EVERY DAY
DON WRIGHT
mpact
is
what makes
a cartoon
good and,
in
order to have
The
on the jaw, between the eyes.
Newsweek want cartoons that don't take too
that subtle.
all
Magazines
like
make a
And for that, think we could do with a little less
wit and a little more statement."
Those are strong words coming from someone who just had
a cartoon featured in Newsweek. But Don Wright knows all
strong a position, that are funny. But cartoons should
statement.
about impact.
cartoonist
draw."
"I
He may come
back from the grave. I'm watching him very closely and, when
have the opportunity to comment on him, do."
Wright is a newspaperman first and foremost. He started off
38
with the managing editor, Baggs asked him to fill the vacancy
left by their departing editorial cartoonist. "My initial reaction
was that it was ridiculous," says Wright, "and told him that
I
began to work at it
began
expanded my interests
issues.
I
But as
form opinions."
Wright's involvement with newspaper work doesn't end
with drawing cartoons. He considers himself a devoted newspaperman and feels privileged to be part of the profession.
to
"I
in
it
at
it
a challenge to
keep
afloat."
Wright also
a lot to
grew up
in
tendencies have
which he was
raised. "I
right direction."
Just as his
community
is
begun
to
39
40
1976
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PAUL SZEP
and
would eventually
find out.
Post.
While
Bill
my
stuff
Star.
just
asked him
if
he
knew of any jobs. was very naive." But Sanders was related
to Gene Graham, a journalism professor and cartoonist, who
also happened to direct the Boston Globe's summer intern
I
program. The paper had been looking for its own cartoonist
They invited Szep down for a two-week
50
in November.
"The
big
issue
was
Vietnam," he
The move was momentous.
was sold" on it. But "from the moment came
recalls, "and
down here, realized there was another side. That was really
used to see the
a great breakthrough for me. As a Canadian
American government as the knight on the white charger.
suddenly realized that they fucked up on Vietnam something
as big as Vietnam. The best and the brightest were really not
the best and the brightest." His antiwar cartoons date from
early 1967.
Even though
cal
his
own
sensibility
one
difference." Yet, at
stitution in
dums. No more.
"If
make
the
time, Szep
first
it's
pervasive."
51
McNaught and
Them
are collected
Damned
Pitchers
what he sees
in
is
when
the country
is
he has no plans
in
the throes of
as a "false conservatism."
"I look at issues like the abortion bill being debated here,"
he says, commenting on legislation to withhold state Medicaid
can see that it's a bill directed
funds for abortions, "and
against poor people. A rich person won't be affected. That
I
mentality
52
find frightening."
Go forth and
infiltrate!"
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of the above public official- with his faxorite ethnic slurs: (A) Fat Jap: (B)
THE SELF-RI6HTE0US.
HYPOCRITICAL MEOOLER
IN THE AFFAIRS OF OTHERS
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A MINDSET
OF ABSOLUTE IRREVERENCE
BEN SARGENT
B,'en Sargent
in
drawing on
who
is
a soft-spoken,
civil liberties
sees himself as
civil liberties
issues,
Amendment
violations.
"I try
can,"
Texas
in
Corpus
1970, Sargent
went
to
work
in
News
Service (an
independent, state capital news service in Texas), and, ultimately, as a capital reporter for the American-Statesman
Through all this, the thirty-year-old Sargent remained an
inveterate doodler. After a while, his drawings made during
long-winded sessions of the legislature came more and more
to resemble satiric cartoons, and they came to the attention
was a fairly
mediocre reporter," Sargent recalls, "just writing day-to-day,
bread and butter stuff. never even thought about doing editorial cartoons because cartoonists are so few and far between
of the editorial page editor at Sargent's paper. "I
here.
62
more than
six
or seven cartoonists
whole
the
in
saw my draw-
me
and he asked
ings,
do
to
paper part-
were
kind of a
It's
sort of a
West
in
he
"My
Texas.
recalls.
"Amarillo
parents
is still
hot-bed of right-wing
and
activity,
found
it
few
is
who
is
Houston,
their ideas."
is fortunate to work for a newspaper which supports
outlook "we're just about the only paper here opposed
to the death penalty," he says
and he finds that his years as
Sargent
his
a reporter
affairs.
in
handy
depicting local
in
two cartoons
week on Texas
do
at
because it's so
incredible," says Sargent. "Texas politicians go to all sorts of
strange excesses of fatuousness and stupidity. It has sort of a
least
special quality
all its
politics
own."
Perhaps because of
have a special quality
this
all
their
own
as well.
And
it's
been drawn by
self-satisfaction,
in
trouble for
"Now
when
a person
who
in
school
is
a strong civil
was
It
what
drawing
used to get
in class."
63
Jnquisi
the normal
HAVE NOTHING
TO
FEAR.
"B5H5AR33ST"
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o
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CANNOT PREVAIL WHEN
BAIANCED AGAINST
lEQTlMATt CONCERNS
FORTHE OFFICER'S
SAFETY.
BEUSARGENX'.
iv
1977
V- 1 ;*
A*9r,cai
Stategnan
fellow texans.
proposition n? 3 wiu.
allow *dr criminal
justice system to
deny bmlto criminals
accused of committing
crimes while
ON
A DEPRAVED PySHW
WERE GONG TO
SfctfP CRIME FROM OUR
STREETS. SAY WE HAD A
WM/WENTlHAWAy/
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SUMMER
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ree
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BERTOUSISATtyVESiy/
THE
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RIGHTS?
-^
IT IS
WD CIVILIZATION
AS WE KNOW IT*
MAW/
MEAN
DON'T GET
IT/ IF
THE
CAUTION/
ENTERING
1977
LEGISLATURE
r
"&=m
sarc^t-
THINGS WERE
MUCH WORSE
THAN EVER EXPECTED
I
DOUG MARLETTE
there,
as the
"Home
White
of the
Street Baptist
me
His father, a
corpsman
in
where
local
74
that
my
feelings
'the
product of long-held
tion/
And my
CO
classifica-
CO was granted."
appropriate
months
"you know," Marlette
"emptying bed
ranger" Marlette was hired by the
for
six
says,
work
in
for
become
are
still
himself to
some
75
it
hasn't
that period
people
like that."
His
76
Olympus."
IQlIEOPFmTlMTYJ
"
(5
"
ttCMifficftfWl,
a
"IT'S
MY FAVORITE COLOR.'"
Mvar
77
WHAT'S
NICE GIRL
mmt
NO, l DIDN'T DEMAND TO TALK TO THE PRESIDE WT~I DEMANDED A MILLION DOOARS/
A PEPPERONl PIZZA AND AN ENDTO OPPRESSION OF LEFT-HANDED PEOPLES-VOU
MUST WANT THE TERRORISTS TWO FLIGHTS UP/"
XW
W>
EW
tenuis aotwmip,
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^^
UNCOMMON MEN
SUPPRESSED
BILL
MAULDIN
In
his
years of
World War
quite well. Fifty-seven
age may seem a mite young to be one of the grand-
II
Bill
New Mexico
his
constant battle
childhood was a
independent status. "My
having domestic upheavals to direct us in everything we did,
and they were always broke," recalls Mauldin. "They split up
when was fourteen, and that's when left home. And though
this is one of those things that's supposed to create chronic
convicts, they gave me a strong sense of being loved.
never
felt they would let me sink if they could possibly save me."
Mauldin kept himself from sinking, acting the gadfly in high
school, and eventually
after a year studying art in Chicago
landed in the army just prior to the outbreak of World War
II. While he saw action as a soldier in the Sicilian corridor,
most of his time was spent behind a drawing board. This produced some of the most incisive and black humorous views
of war and soldiering to flow from an artist's pen. His Willie
and Joe cartoons for Stars & Stripes were wry depictions of
the war-is-hell life of the average infantryman and won him
his first Pultizer Prize at the ripe age of twenty-three.
His
tion of his
He drew
he
knew
handled six-shooters, and medieval view of the enlisted manMauldin satired, tried to push the cartoonist into more supportive activities. "I don't know where you
got those stripes on your arm," Patton told Mauldin, "but
officer relationship
86
enlisted
to shine."
it
looked as
Mauldin
as a has-been, a
if
Bill
Mauldin would
many viewed
fifties,
the
were inked by
sixties
the
way
his
couldn't do that.
"In other words, you
expectations. Well,
were
told that
you had
to have limited
87
who had
people
this
who
people
practiced
it
didn't
know what
talking about."
boyhood also gave him a special perspecon another hot civil liberties topic, gun control, although
the judgments he draws are different from the standard Eastern
His southwestern
tive
brand.
many kooks on
think there
always been,
someone
like
result:
"They
all
want
to imitate
Mauldin has
hears
little
a critical
a necessity for
cartoonist as long as
He
trend
in
when he speaks
backlash.
"I
think
civil
liberties are
coming right-wing
in a lot
of trouble,
really
88
Th'
hell
with
it, sir.
'I tried
'Mommy
isdt'
says I gotta
Looten-
Ya
got
'Of course,
we
all
want a
free press!"
Bfc
/MSTER..."
'jOPPy,
If
THAT
..MAKES YOU
6uN
AIN'T
6KTED
WONDER HOW
Vov'RE |N
TriET EVER,
WKH
MANAGED
T/SiJ" THAN
AM."
'Wh&te
"CUy we
We A
tttfement on
Human ffyMj
In
Nw Hampshire?"
And everything
in its place
A GOOD CARTOONIST
IS LIKE A LOADED GUN
MIKE PETERS
*c
phone
area,
off.
syndication.
picture
that the
sided.
my
get picketed.
It's
editorial cartoonist
is
to
got to be."
One would
hardly guess from Peters' self-styled job descriphe still thinks of himself, at age thirty-four, as a
happy-go-lucky kid from St. Louis. But, in fact, he sees himself
tion that
96
One
of the people
mother was
who knew
"Little
Mike" because of
St.
Louis Post-Dispatch.
It
his
Mauldin,
waS through Mauldin
Bill
became
Time magazine in 1958 when the cartoonist won his second Pulitzer. "When saw it," recalls Peters, "I said to myself,
'my God! that's it for me
that's what
want to be; mean
if a cartoonist can get his picture on the cover of Time, what
more is there?' saw a chance to do something and still have
a good time for the rest of my life
being able to draw, get
pissed at people, and mouth off whenever you want to.
of
When
in
"Greetings ..."
situation.
"
97
Peters was fortunate in finding a liberal paper that encouraged him to sharpen his wit along with his pencils. Richard
Nixon was a favorite target, along with a whole spectrum of
civil liberties issues, especially Watergate, women's rights, and
the myriad abuses of the FBI and CIA. In 1976, Peters published a book of his cartoons on the demise and fall of Nixon
titled The Nixon Chronicles.
Today, Peters has achieved his life's goal of having fun by
speaking his mind and getting paid for it. Through United
Features, his work is syndicated in 170 newspapers, although
Peters finds it puzzling that "odd papers pick me up; it must
be the water drink." In addition, his cartoons often appear
in publications like The New Republic, which recently featured
one of his drawings on its cover.
Peters' editorial point of view is one of the most acerbic on
the market. "I wish there were more ways for people to speak
their mind and get paid for it," he says. "And
wish that
people who write editorials would stop being so goddamn
'fair.' As long as you're being 'fair,' whatever you're putting
across is going to be watered down."
I
98
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THE CONSTITUTION
HELL
IS
OF A DOCUMENT
PAUL
CONRAD
Chances
black-ink signature,
editorial
and
"I
incisive,
him
that
all
the
106
List.
Our
at first
national editor, Ed
show Ed!"
He continues,
start to think
stoop to such a
level.
I'll
mentality."
it
in his
Conrad attacks.
The strident liberalism he displays in his cartoons would
seem to belie his upbringing. Born fifty-four years ago, Conrad
was raised in a rock-ribbed Republican family in Cedar Rapids,
Iowa, and later moved to Des Moines. He attended Catholic
parochial schools and didn't become serious about drawing
until he was midway through the University of Iowa.
"I was working my way through college on the Gl Bill and
by playing string bass in a dance band. We had a swinging
outfit
vibes, clarinet, drums, bass, and piano," he remembers.
"With two years to go, was majoring in art and didn't
know what wanted to do. had seen too much of the
musician's life and knew didn't want to do that. Well,
ran
into a friend from Des Moines, who was editor of the school
paper. He suggested
try a few cartoons.
did one the next
morning, and I've been doing them ever since."
Although his thirteen years in Denver (at the Post) and
sixteen in Los Angeles have seen him move more strongly in
the area of rights, Conrad remains an enigma
and an
infuriating one at that
to many civil libertarians. Despite his
targets of
107
and some of
least.
He
women's
rights,
Conrad
is
an ardent
pro-lifer,
on other matters of
"Look, just don't know where life begins, but know
hate to think we're at that point in our
it begins somewhere.
civilization where human life is held at such a low degree.
It seems to me that the civil libertarians would be on the side
of the unborn baby."
He's been over this ground before, but his sense of conviction makes it seem like the first time he's put forth the
argument. His disgust over the matter is not displayed toward
people who favor abortion rights; rather, he reserves his anger
perfectly consistent with his viewpoint
liberty:
for those
side.
name came up
dismantle it as a convenience.
"Well, I'll have no part of that!"
108
.iSPY'SOY'..
*vt>ob
THE MEN
WHO
PLANNED
~~ -|
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GOD
^?<~lilfj*J*Tn>
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s>
CONFRONTING PEOPLE
WITH WHAT THEY
DON'T WANT TO SEE
TONY AUTH
lart
irt of the job as a cartoonist," says Tony Auth, "is to
confront people with things they really don't want to see."
Auth currently jars people's senses daily in the pages of the
work
is
distributed nationally by
work on
a daily
how-
paper for
five
editorial cartooning.
didn't know
cartoon for them. said, 'O.K., I'll try'
could do it. About a year later, discovered that not only
could do it, but loved doing it."
Auth went to see Paul Conrad, the Los Angeles Times'
editorial cartoonist, to ask him how to go about getting a job
on a daily paper. "He told me that my work wasn't bad," says
Auth, "but that drawing once a week wasn't enough because
you never get into stride. The real test is drawing day after
day." Taking Conrad's advice to heart, Auth contacted his alma
mater, the Bruin, and drew three cartoons a week for them
political
if
He
also
began syndicating
his
work
there aren't
116
It's
a tiny field
and
five cartoonists
unknown
somebody with
a big
cartoon,
117
Independence
was incredible."
While a confrontation with the world of Tony Auth may not
be the most comfortable view of the current state of our
freedoms, it is a perspective that grew up in a decade of
Bill,
he had
118
become complacent.
eff%, tut
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GETTING ANGRY
SIX TIMES
A WEEK
HUGH HAYNIE
t's
really
six
Hugh
of his
is still
all
in-
editorial cartoon."
of the
straw hats
Herblock was
imagine.
128
just
became
Journal
six
in
distributing his
A Haynie
work
cartoon
is
reaches out and startles the reader like a blast of cold air.
Haynie himself admits that this is often his motive. "You must
It
have to do
one
it all
in
shot.
full-disclosure thing
was hard,
for
example. think we all agree that the CIA can't print everything
it does in the newspapers, but what's happened so far is not
what Carter promised in his campaign. had very mixed
emotions about the Hustler case, too. wish we had a better
client than Larry Flynt, but this thing still has to be nipped
in the bud."
One issue that still remains sharp for Haynie, though, is the
puritan character of American society. "Our society today isn't
nearly as puritanical as the one in which
grew up," he says,
"but it's still a pervasive element. mean whenever read my
mail
get the
even though I'm sure there are worse places
distinct feeling that Louisville is the buckle on the Bible Belt."
Haynie would probably be surprised at the influence he's
had on the new generation of editorial cartoonists. He is a
man of quick wit, and his work always reflects his innate sense
I
of humor.
129
..
K^V. Xf MfS<>
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mon Dieu!
terrorist!
HAD
to release the
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what say we
let
women
5]
So you demand to
sir,
call
editors!"
eems
like everybody's
To
voting,
away
make darn
certain
'Just
when
thought
was
."
if
PAT OUPHANT
at
especially
this country,
style of
artists like
this
influences
David Low
new
were
who
country."
more
"My
in
Adelaide for
five
he read
in
An Oliphant cartoon
is
in a
in Australia as a method
more than one idea into a cartoon. When you get
more than one idea, you don't like to waste it. chose the
idea.
of getting
cartoonists find
someone
we
get a
little
variety
again."
Kennedy
Moving
to
141
and Watergate, the Carter regime has made this city a little
boring/' he says. "It's hard for me, as a cartoonist, to take on
and develop a whole new cast of characters. If the people in
Carter's administration become more widely known and
could caricature them more freely, but
You try to grab at what you can."
Mauldin, no stranger to pioneering new techniques in
recognizable, then
142
American cartooning."
first
magnitude
in
the
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TRY TO FORGET
THAT I'VE EVER READ
I
HISTORIES
DRAPER
HILL
,sk
in
pen-and-ink
man
resident historian
in
News
is,
is
magna cum
laude,
James
Gillray.
in
Hill
when
however, he protests: "What
Draper Hill has not lost his sense of wry Yankee humor
during his twenty-plus-year career; witticisms tumble from his
lips.
For instance,
Hill's
number
of
deep love
for
won't say
door, because
He admits
came
simply
from the start," says the forty-four-year-old Hill. "I did start,
back in high school, fired by a not very original fascination
with Thomas Nast, and moved on from there."
It was this fascination with Nast, coupled with his interest
in Joseph Keppler of Puck and with the other pioneering
popular artists of the late nineteenth century, that led Hill
to favor political cartooning over two other artistic interests
sports cartooning and gag cartooning. He notes one other early
experience, however, that helped him make up his mind.
it
152
"I
was
in
was
he recalls.
"To my amazement, turned the trick with a flood of placards
and posters, each with a different and obviously handdrawn cartoon. That was the first time ever came up with
a correlation between cartoons and the exercise of power."
The seed of a career goal planted, he entered Harvard in
1953 only to discover that the daily Crimson already had a
first-rate cartoonist, an army veteran in his late twenties with
three years of college yet to go. Undaunted, Hill turned to
The Castle, the home of the Harvard Lampoon. Senior John
Updike ("It was a little hard not to be awed stiff of him") was
in charge of the humor magazine and had imbued it with the
style of The New Yorker. Freshman Hill had found a niche.
"There were all kinds of drawings and posters hanging on
the walls, from people who had been members, like New
Yorker cartoonist Gluyas Williams, and from those who hadn't,
like James Montgomery Flagg. For somebody fascinated with
cartooning and caricature, like me, it had to turn into a
class president with the reigning football captain/'
I
historical orientation."
The Lampoon
political cartooning;
153
will
when juxtaposed by
look fresh
a tired cartoon
Hill
symbol
Hill refuses to
his
reaching the
general public.
"I try
how
a nursery
I'm doing
it is
something out of
Shakespeare,
it self-contained in a way
that would banish the thought that was condescending. It's
I
central point."
in
Memphis
anniversary.
little guy with dark hair and thick, black
perplexed or troubled look on his face, will
Occasionally a
glasses, with a
154
"whether
value
is
a cartoon
as an
is
deeply dipped
irritant, as a
whimsy or
not,
its
that
in
forget that
history, or
looked at thousands
of cartoons."
in
Hill's
all
studies are
the better
it.
155
in
'
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ii
ii
this sensitive
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document, Mr.
Jel arson
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it.
to a
major war.
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LATEST SUCCESSFUL
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WE ALL
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humor
Politics,
GETTING ANGRY
TIMES A WEEK
A
SIX
ALAN
F.
WESTIN
MAJOR CARTOONISTS
Tony Auth
Paul Conrad
Jules Feiffer
The
Hugh Haynie
Draper
Detroit
Hill
Village Voice
News
Mike Keefe
Doug
Bill
Marlette
Mauldin
Chicago Sun-Times
Pat Oliphant
The Washington
Mike Peters
Bill
Star
Sanders
Ben Sargent
Paul Szep
Don Wright
Miami News
Political
humor
at
its
some
of the funniest
this
book with
a friend.
ISBN
0-8070-4379-6