Thursday 22nd of August 2019

cartoonists of the world revolt... or at least draw something like "je suis against le new york times that feeds me"...

we're all dead
The New York Times cuts all political cartoons, and cartoonists are not happy
The Times says it will turn to longer-form, graphic-novel-style commentary. Cartoonists see the move as yet another sign that the editorial-cartoon industry is foundering.

Unfortunately, the importance of cartoonists is as big as a wet box of matches... But we do our best to shake the torpor of us...

a few cartoons from around the world...

uncle rupe...

truth

 

hypocrisy

 

apprentice

more cartooning about...

Acclaimed French cartoonist Jean Plantu called on the New York Times Tuesday not to ban political cartoons from its pages after a furore involving a caricature of Israeli Prime Minister Benjamin Netanyahu.


The artist who founded the Cartooning for Peace charity, told AFP the newspaper was wrong to bow to pressure and remove a drawing by Portuguese illustrator Antonio Moreira Antunes from its site.

“Humour and unsettling images are part of our democracy,” Plantu said.

Not having biting cartoons was “as stupid as asking children not to do drawings for Mothers’ Day,” he added.

 

Read more:

https://www.france24.com/en/20190611-france-cartoonist-plantu-stupid-new...

plantu

schmick

intentions

getting away


read also :

antiseptic wimps at the NYT... in ad nauseam, ad infinitum 

 

some cartoonists revolt against the new york times...

ks

 

brothers

 

history

 

nyt

 

pens

 


a paper with no flush toilets...

cartoonists

...

Parallel to that open sewer of satire in Georgian London were real open sewers. A lot of the humour of 18th-century satirists is coloured by the realities of urban living, and the colour is often brown. London was expanding exponentially northwards and westwards, but it was still a city with no flush toilets. No wonder, then, that there’s a kind of faecal satirical trickle-down, from Swift’s scatology, via Hogarth, to Gillray and his contemporaries. In The French Invasion; or John Bull, Bombarding the Bum-Boats, published in 1793 under a pseudonym, Gillray anthropomorphised the map of England into the body of George III, who’s firing turds out of his arse (Portsmouth) on to the French fleet. Likewise, Midas, Transmuting All into Paper, published in 1797, shows William Pitt vomiting bank notes and shitting money into the Bank of England.

This earthiness – “Hogarthian” defines it perfectly – didn’t necessarily age well. Swift’s dark last book of Gulliver’s Travels, which his contemporaries “got” with no trouble, led the Victorians to dismiss him as a deranged misanthrope. Gillray has suffered a similar fate, but the 18th-century audience had stronger stomachs. They had only to walk down the street to find not just shit in the gutters, but around the next corner, a child being publicly executed for stealing a bun. That said, it’s the rawness of their filthiness that makes Gillray and Hogarth far more approachable than many of their contemporaries.

Which gets us to the heart of the beast, and why Gillray in particular, 200 years after his death, still matters. Personally, I believe satire is a survival mechanism to stop us all going mad at the horror and injustice of it all by inducing us to laugh instead of weep. More simply, satire serves to remind those who’ve placed themselves above us that they, like us, shit and they, too, will die. That’s why, if we can, we laugh at both those things, as well as being disgusted and terrified by them. Beneath the veil of humour, there’s always a deep, disturbing darkness.

 

Read more:

https://www.theguardian.com/artanddesign/2015/mar/21/satire-sewers-and-s...

 

Gus: A paper like The New York Times needs more cartoonists, not none, to flush the often too seriously flawed slanted news down the sanitising toilets of satire. 

 

I dare the NYT to publish this above cartoon!

 

Read from top.

 

Read also:

http://www.yourdemocracy.net.au/drupal/node/36561

 

no fear, no favours...

by Martin Rowson

April, it seems, really is the cruellest month for the New York Times. On 25 April, its international edition (formerly the International Herald Tribune) ran a cartoon by the Portuguese cartoonist António Moreira Antunes, previously published in the Lisbon paper Expresso and depicting Israeli prime minister Benjamin Netanyahu as a guide dog leading a blind Donald Trump. In the way of cartoons, the Netanyahu dog had a blue Star of David (presumably meant to signify the Israeli flag) dangling from his collar, while Trump wore a yarmulke.

There was an instant outcry condemning the cartoon’s antisemitic imagery, including in articles and editorials in the New York Times itself. As a result, the paper has decided it will no longer publish any political cartoons in the international edition (the NYT domestic paper dropped cartoons several years ago) and is terminating its contracts with in-house cartoonists Heng and the multi-award winning Patrick Chappatte. In a statement released on Tuesday, the paper announced that it would “continue investing in forms of opinion journalism, including visual journalism, that express nuance, complexity and strong voice from a diversity of viewpoints”.

This is a gross overcorrection, even though the outcry had some justification. While you can just about get away with claiming the blue Star of David signifies the state of Israelrather than Jewish people in general, the signification of Trump’s yarmulke is impossible to argue away: the implication is clearly that the US president has been “Judaised” by the dirty Israeli dog, both of which are common antisemitic tropes of the type notoriously published in cartoon form in the Nazi newspaper Der Stürmer.

As the Labour party knows to its cost, antisemitism is the most insidious of racisms and cartoonists in particular need to be increasingly careful when engaged in otherwise wholly justified images belabouring the actions of the Israeli government. This isn’t just to avoid online lynch mobs; we also need to nuance our work to make it absolutely clear that we’re condemning the Israeli government’s actions because they are rightwing nationalists (currently bizarrely cosying up to Hungarian prime minister Viktor Orbán, a blatant antisemite), and not because they’re Jewish. 

But let’s get back to cartoons. The New York Times “disciplined” the unnamed editor responsible and announced that it would no longer be publishing any syndicated cartoons provided by CartoonArts International. But that wasn’t enough, and now the NYT cartoons are no more. Just like any other commercial enterprise, the New York Times can do what it likes, and I look forward to seeing some scathingly satirical tie-dyes in the pages of its international edition. But this cuts deeper than an over-reaction to an ill-judged cartoon. Cartoons have been the rude, taunting part of political commentary in countries around the world for centuries, and enhance newspapers globally and across the political spectrum, in countries from the most tolerant liberal democracies to the most vicious totalitarian tyrannies. As we all know, they consequently have the power to shock and offend. That, largely, is what they’re there for, as a kind of dark, sympathetic magic masquerading as a joke.

That’s also why the Turkish cartoonist Musa Kart is in jail, why the Malaysian cartoonist Zunar was facing 43 years imprisonment for sedition until a change of government last year; why five cartoonists were murdered in the offices of Charlie Hebdo in January 2015; why dozens of British cartoonists – including William Heath Robinson – were on the Gestapo death list. And why, for that matter, when in the late 1950s the London Evening Standard ran a cartoon by its Jewish cartoonist Vicky attacking the death penalty, this so shocked and outraged a GP in Harrow that he wrote to the paper regretting that Vicky and his family had escaped the Nazis.

As Kart said at his trial, cartoonists are like canaries in the coal mine – when they come for us, you know the politics is getting toxic. But we’re not just subject to the shallow vanity of tyrants or the fury of mobs. The greatest threat to cartoonists has always been the very newspapers we parasitise on. When the accountants moved in on the US newspaper industry in the 2000s, the first employees to go were the cartoonists, just like most newspapers that get closed down aren’t shut by governments but by their proprietors. Nor is it just money. I’ve been “let go” more times than I can count (the worst case was when the Times sacked me to make more room for Julie Burchill’s column, though in a previous incarnation on the Guardian’s personal finance pages in the 1980s I was redesigned off the page and replaced with what was charmingly called “a creative use of white space”).

We are, in short, expendable. Nonetheless, the New York Times’ decision is particularly irksome in its intoxicating combination of cowardice, pomposity, over-reaction and hypocrisy. As I observed at the beginning of this article, April is the cruellest month for the New York Times, as its much vaunted (and self-promoting) claim to be America’s “newspaper of record” was dealt an almost fatal blow when it was revealed in April 2003 that its star reporter Jayson Blair was a serial plagiarist who had fabricatedmany of his stories. You’ll note, however, that the paper did not stop using reporters altogether in order to rebuild its reputation. Nor did it issue a statement announcing that it would “continue investing in forms of news journalism, including textual journalism, that express nuance, complexity and strong voice from a diversity of viewpoints” and then fill its pages with copy from, say, accountants and astrologers. Although after the dumbness of this decision, just give it time.

• Martin Rowson is a cartoonist and author

 

https://www.theguardian.com/commentisfree/2019/jun/12/new-york-times-car...

 

A few "Anti-Semitic" (they are not A-S — they are just the reality of what Israel is hypocritically doing) cartoons published on this site...

Some by Gus, some by other penpushers:

 

bibi

netan

 

yahu

 

help

 

asem

 

club

 

vision

 

pweace

 

More to come...

 

See also: 

poetic satire on the wrong side of democracy...

the necessary truth...

true


more politically correct exposure of hypocrisy...

adelson

 

on the beach

 

neo-

 

nukes

 

dove

 

 

tictoc

 

neither

 

 

pirate

 


more more...

nukes

 

flush

 

beaniebeanie

israel erased from the map...

New Zealand’s immigration website deleted a fact sheet about Palestine from its website after it caused outrage for identifying Israel as Palestine on a map.

The government website published the map as part of a fact sheet about Palestinian immigrants in New Zealand, showing Israel highlighted in blue and marked as ‘Palestine’. The West Bank is not included in the highlighted area.

palestine

 

Read more:

https://www.rt.com/news/462157-new-zealand-israel-map/

 

I believe this was not a joke....

 

more jewish cartoons from this site...

netann

 

dogs

 

isrr

 

sticks

 


no cartoon — no democracy...

Iranian cartoonist Kianoush Ramezani reacts to the International New York Times' decision not to publish a political cartoon after a controversy over a cartoon deemed antisemitic.


How on earth to explain what happened to Patrick Chappatte and the New York Times following the publication by the newspaper of the controversial drawing of this artist? The explanation may be to be found in an old Iranian proverb: "One hundred wise men are unable to remove the stone that a single madman has thrown into a well."


But the "sages" of the NYT have gone beyond the "stone" and the "crazy", and have outright destroyed the "well"!


Sooner or later, they will regret not having any political caricature. I imagine that for Friday, August 2, 2019.

 

chappatte

 

I met Patrick Chappatte for the first time at the Caen memorial in 2011. He is a passionate man, a tireless defender of human rights and a brilliant draftsman, however always modest and realistic. Between 2011 and 2012 [period when I received the first international cartoon prize of the city of Geneva with three other Iranian cartoonists], I had the opportunity to meet him and get to know him better. , and I consider him a friend. I have been doing his wonderful job for over eight years, and I have the deep conviction that he is one of the most talented caricaturists of our time.

 

Read more:

https://francais.rt.com/opinions/63116-international-new-york-times-art-...

 

Read from top.

 

sharpener

sharpener by Iranian cartoonist Kianoush Ramezani 

replaced by a more popular cartoonist...

"The highs and lows of cartooning. Today I was just let go from all newspapers in New Brunswick," De Adder tweeted. He later clarified that he had technically been under contract to work for Brunswick News Inc., and wasn't an employee who could be fired.
Brunswick News Inc. responded in a statement on Sunday that "it is entirely incorrect to suggest" that it canceled a freelance contract with de Adder over the Trump cartoon. 
"This is a false narrative which has emerged carelessly and recklessly on social media," the publishing company wrote. It said that de Adder never offered the Trump cartoon to the company and had already decided to "bring back" another cartoonist it said was popular with readers. "[N]egotiations had been ongoing for weeks," it stated.
De Adder tweeted that he would bounce back from losing the job and that he just had to "recoup a percentage of my weekly income." De Adder has a book he said will be released in September. 
He did not respond to a request for further comment from CNN Business.
Read more: https://edition.cnn.com/2019/06/30/media/canadian-cartoon-trump/index.htmlfore...


who's afraid of cartoonists?...

conviction

... הנעל על הרגל השנייה

Some British Jews feel affronted by alleged anti-Semitism in the UK Labour Party. But how many of the complainants empathize with complaints from West Bank Palestinians? 

Throughout history, thinking at variance with the mainstream was always unpopular and risky. However, at various times, it has been tolerated to different degrees. Today, it’s less and less acceptable than in the recent past.

Liberals of all colors like to repeat German socialist Rosa Luxembourg’s critical stab at the Bolsheviks: “Freedom is freedom for those who think differently.” 

And, to spice it up, they often like to add Voltaire’s maxim: “I disapprove of what you say, but I will defend to the death your right to say it.” 

That said, does our recent (and not so recent) experience not show that freedom for those who think differently is now acceptable only within the constraints of the predominant social pact?

We can see this clearly, right now, as the unwritten rule which determines the limits of what is acceptable is breaking apart, and different visions compete to impose themselves as hegemonic. Years ago, Noam Chomsky caused a scandal when he followed Voltaire’s maxim to its extreme: he defended the holocaust denier Robert Faurisson’s right to publish his book, and his argumentation even appeared in Faurisson’s book as an afterword. 

Today such a gesture would be immediately identified as anti-Semitic.

 

Read more:

https://www.rt.com/op-ed/463911-freedom-metoo-zizek-anti-semitism/

bugs

Picture of cooperative bugs just for fun...

 

Read from top.

netanyahu gives anti-semitism a good name...

a good name

 

Read from top.

special privileges...

special

 

Read from top.

mexicans...

mexicans

 


those things are scary...

je suis...

 

scary

 

 

Read from top...