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Art School Days in the Whorehouse

Here’s a memory about art school, from our storied cartoonist, Randy Enos.


As my second (soon to be my last) year in art school approached, I decided to live with a homogeneous group of art students instead of the un-homogeneous group I had been with in my first year. So, four of us found an apartment on Dartmouth Street above Back Bay Station in Boston. It was not a long walk down Huntington Avenue to our school, The Boston Museum School of Fine Arts.

The furnished apartment consisted of one long room culminating in a big wall window looking down on the street from the second floor. Entering our $75 a month apartment there was a little cooking alcove, consisting of an old stove and tiny refrigerator to the left, and a tiny bathroom with claw-foot tub to the right; there was also a long room with four beds perpendicular to the wall down the right side. There was a small amount of room left for sitting before the grand window which formed the back wall.

The apartment building was above Dave Finn’s Irish Bar which had a garishly large green shamrock in the window. The bar and building were owned and operated by our landlord, Dave Finkelstein. Every night the bawdy sounds of music, drinking, fighting and other general ribaldry wafted up to our grand window and managed to deprive us of any quiet or sleep until the bar shut down around midnight.

Across the street was a charming little art store called Hatfield’s Color Shop and to its left a cigar and cigarette store featuring cigarettes from all around the world. My favorites were the strong pungent ones from Turkey. Every morning on my way to school, I would purchase my breakfast which consisted of one of their fat, five-cent cigars augmented by a 5th Avenue candy bar bought at the drugstore next door. That was the breakfast I munched on every morning, finishing off my fat smelly cigar in drawing class where we would draw from a nude model until noon.

In the entrance-way to our apartment building was a small hotel desk (because, in fact, it was sort of a hotel) manned by a little crippled poet named Bob. Facing Bob and his desk was a small rickety elevator which took us to our room. On our second floor there were a few other tenants (I don’t remember ever seeing any of them). On the third floor were rooms for transients and I think, there was a fourth floor, also for transients. There was one of our fellow art students on the third floor among the transients, named Arthur Foley who was also a jazz drummer. Because I talk a lot Arthur dubbed me “Lip-Jazz”, a nickname that stuck with me that whole second year.  The transients were exclusively bar and street hookers and their sailors (there were an awful lot of sailors around at that time).

I didn’t eat or sleep much in those days and I really took a liking to Bob with his poetry and intelligent conversation so I hung around his desk often into the wee hours of the morning. We watched the endless parade of hookers with their drunken sailors file in every night. Sometimes the girls would ditch them only moments later, seeking greener pastures and leaving the abandoned sailor boys alone in the room until, finally, they’d stagger back down to Bob and me and ask if we saw the girl they had come in with. It was usually, ”She said she was just going to get some cigarettes.”

Life was frugal for us in those days. About our only form of relaxation was hiding Jack’s thick glasses from him in the morning and watching him stagger around blind as a bat cursing us and our ancestors. Ronnie was an avid rock climber who actually slept with a beautiful, recently purchased and gleaming “rock-climbing axe.” And there was Steve Chop, our “cook,” who we all mercilessly kidded about wanting to have a career in advertising art.

We shared our interesting apartment with about a million cockroaches who would line the rim of our bathtub and watch us take baths. The flooring of our palace consisted of large black and white tiles. When we would open our door to enter, the whole room seemed to move as the cockroaches dove toward the black squares.

One particular night, I pushed the “starving and drinking” routine a little too far. Around 2 or 3 in the morning, as I stood talking to Bob at the desk, I started to feel slightly woozy. I told him I’d better get to bed. I remember opening the elevator door and entering. The next thing I remember is waking up to loud pounding. A frightened Bob face looked through the little elevator window at me laying on the floor of the elevator. He said I had hit every wall in there before collapsing. Ah, the halcyon days of the art school life.

One morning we looked out of our glorious window down to the street and we saw one of our teachers. He had come on the train into Back Bay Station and was proceeding up the street toward Huntington Avenue to walk to school. We were excited to see him. We banged on the window and shouted out our morning greetings to him. He completely ignored us. He looked straight ahead and kept walking. We knew he had heard us; we weren’t that high up away from the street.

Later we arrived at school and confronted him about it.

He said, “I heard you guys but I’m not going to wave to you up there in that whorehouse above the bar!”

Randy Enos

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Read more more of Randy’s cartooning memories:

The Card Trick that Caused a Divorce

The Mysterious Mr. Quist

Monty Python Comes to Town

Riding the Rails

The Pyramid of Success

The Day I Chased the Bus

The Other Ol’ Blue Eyes

8th Grade and Harold von Schmidt

Rembrandt of the Skies

The Funniest Man I’ve Ever Known

Read “I’m Your Bunny, Wanda –Part One”

Read “I’m Your Bunny, Wanda –Part Two”

Famous Artists Visit the Famous Artists School

Randy Remembers Tomi Ungerer

Randy’s Overnight Parade

The Bullpen

Famous Artists Schools

Dik Browne: Hot Golfer

Randy and the National Lampoon

Randy’s Only Great Idea

A Brief Visit to Outer Space

Enos, Love and Westport

Randy Remembers the National Cartoonists Society

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Muppet Mob Scene

Randy Enos’ stories inspired me to tell an old story from my own New York cartooning days.

I only draw Muppets occasionally in political cartoons now. I drew this one when it was revealed that the brokers at Goldman Sachs referred to their clients as “Muppets” meaning they were dumb puppets who would do whatever the greedy brokers wanted.

When I was a young cartoon illustrator in New York City my biggest client was Henson Associates, the Muppets, who kept me busy drawing pigs and frogs all the time.

I think it is 1981 and I’m 25 years old in the photo below. The Muppets were hugely popular in 1981 and I had already drawn them so many times that the Muppets all lived in my head; I knew all the names and I didn’t need to look at photos to draw them all.

The Muppets had taken over a large part of the Macy’s Herald Square department store with Muppet licensed merchandise and they did a promotion where I would sit in the middle of the Muppet products and draw Muppets at the request of customers. I hadn’t done anything like this before, but it sounded like it would be fun. They hired me to sit and draw for three hours.

Here I am, looking young in 1981, just starting to draw Muppets at the Herald Square Macy’s before the crowd thickened.

Some people from the Muppets and Macy’s set me up with a table and made an announcement over the PA system to come to the Muppet section of the store to get a free, live drawing from an official Muppet artist –and then they left. The photo shows me just as they left. The calm before the storm.

I asked people to request a Muppet, and asked them what they wanted the Muppet to be doing, and I drew pretty fast. Most of the requests were for Kermit, Piggy, Gonzo and Animal. I signed them with a Muppet signature, like “Kissy, Kissy, Miss Piggy.”

I couldn’t see beyond the edges of my table where people were standing, pressed up against me. What I didn’t know is that the line of people waiting for their free drawing snaked all through the floor at Macy’s, doubling back and forth with hundreds of people waiting for their free drawing. There was no one managing the line –the Muppets and Macy’s people had walked away when I first sat down and they didn’t come back.

I drew this Muppet political cartoon when the Muppets withdrew from a licensing campaign in protest because of Chick-fil-A’s apparent opposition to gay marriage. Good for the Muppets!

After about two and a half hours I yelled out, “I’m only here for another half hour!” The people only pressed in harder. At the three hour mark, I stood up to gather my materials and the people turned surly. Some guys yelled, “I’ve been waiting for my drawing for THREE HOURS!” I learned that my drawings weren’t really free –the people had been paying for them with the time they spent waiting in line and they wanted what they paid for!

Women held up their kids and whined, “Just one more for little Doofus?” The men were angry. They mulled around me, making their demands as I tried to sulk away through an endless mass of people that seemed like a crowd crushed into a subway car at rush hour.

I see how lines like this are supposed to be managed at the San Diego Comic Con, where volunteers keep the line single file, estimate the time remaining and hang a sign on someone that says, “Last in Line.”

At Macy’s I was chum thrown to the sharks!

 


When I was 25 in 1981, the Muppets were promoting their movie The Great Muppet Caper, and I was doing lots of art projects tied into the movie. Here are a couple memorable ones from my garage.

 

 

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The Card Trick That Caused A Divorce

Here’s my buddy, Randy Enos, telling a story from his art school days. See Randy’s editorial cartoon archive here.  –Daryl


I learned a trick when I was a kid, from one of my father’s fellow insurance salesmen who used to pull the trick on some of his clients when stopping by to collect their premiums.

Here’s how it worked. He asked if they had a deck of cards. Then, when the deck was presented, he asked them to pick a card from it. When that was done, he would make a phone call.

He’d say, “Hello, Wizard?” And then, “Will you please tell this woman what card she picked?!” He’d hand the client her phone. She would then be shocked when an ominous voice would intone, “the five of diamonds!Her card!

I’ll reveal how the trick was done toward the end of the story, but first I must note that in 1954, I was off to art school in Boston with a friend from high school who was going to go to the Conservatory of Music which was very close to my school. We thought we’d both rent a double room in the vicinity. When we found a place, we were surprised to find two more of our high school friends there. They were going to the  Engineering School right in the same neighborhood. So, there we were; all together. On our first night, a drunk on the street was making a racket so we opened the window and one of my pals shouted, “Shut up!” The drunk looked up at the window and said in Drunkanese, “What’s the name of thish street?” My friend said, “St. Stephens.”  The drunk replied, “Who’s that, the patron saint of silence?”

We had an attractive youngish couple as landlords. The woman seemed delighted to have all these young men at her rooming house and she was a bit flirtatious. Eventually, she had an affair with one of the other art students that was living there.

At any rate, one evening, as was our habit, a bunch of us boys decided to go down to the corner cafeteria which was often our nightly hangout. We’d usually stay there drinking coffee until the wee hours of the morning. Mrs. Landlady’s husband worked a night shift at one of his several jobs; she asked if she could come along.

I had never done the trick before (I don’t think I did) so I decided that I would try it on them at the cafeteria. I told them I’d be along soon and I quickly tried to give Ronnie, my roommate, a crash course on the trick. He was to be my voice on the other end of the phone call. Ronnie wasn’t going with us to the hangout. He’d be there near the hall phone so he would be a perfect collaborator. To be the “Wizard”, he would have to know the verbal clues I would be giving him. I wrote them down.

“Hello, Wizard?”= diamonds

“Wizard?” = hearts

“Is this the Wizard?”=spades

“Please put the Wizard on the phone”= clubs

Once the suit was determined, the “Wizard” then starts counting slowly… “ Ace … King … Queen …two … three …” etc. until the card in question is reached, at which point, I, the caller, would interrupt immediately to say, “Please tell this person which card they chose.”

I rehearsed it with him and told him in no uncertain terms that he was not to fall asleep but to stay vigilant and near the phone for the next 30 minutes or so.

So, off I went to the cafeteria to join my victims. Shortly after arriving, I told them that I had brought a deck of cards because I wanted to show them a neat trick. I had someone pick a card and then I made the call to the house from the pay phone without anyone seeing the number I was dialing.

It rang and it rang. And then it rang some more and finally a voice answered. It was not Ronnie! It was our landlord who came home early from work. I was sputtering something and he said, “Who is this?” I told him and he said, “Is my wife down there with you guys?” Then he slammed the phone down and walked the short block to drag her home. We all sheepishly followed, went to our rooms and listened for the next hour to the heated argument a floor below us. Ronnie slept through it all. After a while, a taxi arrived and Mrs. Landlord left carrying luggage. I felt really bad even though Mr. Landlord tried to assure me that it wasn’t my fault that they were going to get a divorce. I couldn’t help feeling that I was, somehow, the catalyst in the whole thing with that stupid trick. A short while later they did get divorced.

I have never done the trick again, and I would warn anyone attempting it to just be careful. Okay?

Randy Enos

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Read more more of Randy’s cartooning memories:

The Mysterious Mr. Quist

Monty Python Comes to Town

Riding the Rails

The Pyramid of Success

The Day I Chased the Bus

The Other Ol’ Blue Eyes

8th Grade and Harold von Schmidt

Rembrandt of the Skies

The Funniest Man I’ve Ever Known

Read “I’m Your Bunny, Wanda –Part One”

Read “I’m Your Bunny, Wanda –Part Two”

Famous Artists Visit the Famous Artists School

Randy Remembers Tomi Ungerer

Randy’s Overnight Parade

The Bullpen

Famous Artists Schools

Dik Browne: Hot Golfer

Randy and the National Lampoon

Randy’s Only Great Idea

A Brief Visit to Outer Space

Enos, Love and Westport

Randy Remembers the National Cartoonists Society

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Barr and the Mueller Report

I drew this Mueller Report cartoon last week.

This is actually the first time I’ve drawn Attorney General William Barr, and he is a great character to draw. I thought I would share some of my other favorite William Barr cartoons by my buddies.

The burning Hindenberg Baby Trump is a great backdrop for this one by Pat Bagley.

 

Here are two by the great Ed Wexler! I don’t think Ed likes Barr much.

 

This one is by John Darkow.

 

This Easter Barr-Bunny is by RJ Matson.

 

This charming puppet is by Monte Wolverton.

 

And Rick McKee.

 

 

 

 

 

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Sarah Sanders

White House Press Secretary Sarah Sanders got caught up in the Mueller Report last week where she admitted, under oath, to lying to the press. She called the lie a “slip of the tongue” even tough she had repeated the lie a number of times, that “countless” members of the FBI contacting her to say they had lost confidence in FBI Director James Comey who the President fired. Here’s my cartoon.

This is actually the first time I’ve drawn Sarah Sanders. She is great fun to draw, and since she’s on television all the time it would seem that I would draw her often. Maybe I will draw her more –we’ll see if she lasts.

Sanders’ uneven, “smokey” eyes and shapeless form are fun, but her asymmetric mouth isn’t really that big, certainly not big enough for a tongue so huge that she can slip on it. I took a look at how other cartoonists have drawn Sanders.

This one is by Sandy Huffaker. Sandy used to be a regular in the CagleCartoons syndicate and he has retired, but he draws a new one once in a while. I grew up watching Sandy’s work in Time Magazine when I was in school. He should come out of retirement!

 

This one is by my buddy, Taylor Jones. It’s all about the eyes.

 

This one by Pat Bagley catches her very simply.

 

This one is by Steve Sack, who catches her without one big eye.

 

Here’s one by Adam Zyglis of the Buffalo News.

 

Here’s one more, from New Yorker cartoonist, Chris Weyant, who draws symmetrical eyes, flops her mouth and adds a few pounds and loses a few pearls, but still captures her.

 

 

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The Mysterious Mr. Quist

Here’s another Randy flashback. See Randy’s editorial cartoon archive here.  –Daryl


In the late 60’s and into the early 70’s, I became aware of a series of pretty avant-garde children’s books being published by someone named Harlin Quist. I think I first saw them in Graphis, an international magazine published in Switzerland and also in a similar publication, Gebrauchsgrafik, from Germany. Quist was an American publisher with offices in New York and Paris. I couldn’t believe how beautiful these books were. Many of my favorite artists were doing work for Quist, people like Reynold Ruffins, Murray Tinkelman, Eleanor Schmid, Phillipe Weisbecker, Charlie Slackman, Stan Mack, Edward Gorey, Étienne Delessert, Alain Le Foll, Alan Cober and Heinz Edelman. It was revolutionary! Realism was fading from the illustration field and in its place was a vibrant, refreshing breath of graphic grandeur. I wanted in.

So, I found Quist’s phone number and called him up for an appointment. He told me to come by on Thursday. Thursday found me in front of an ordinary, rather bleak-looking old brownstone with my trusty portfolio in hand. I was surprised to see that his office was in his apartment. I climbed the stairs and knocked on his door. It took a while for the door to be opened a crack. It was dark in the apartment.

I couldn’t see anything but a hand that had opened the door. Then I could make out an eye peering out at me.

“Mr. Quist is not here” said the voice in answer to my, “I have an appointment with Mr. Quist”.

“He’s in Paris” said the voice behind the door. “You can leave your portfolio until next Thursday!”

It was fairly common practice in those days to sometimes leave a portfolio for a week. I was disappointed but I agreed to leave it and a hand emerged snatching it from my grasp. The door shut. I needed that portfolio but I had high hopes that I would soon be joining that stellar group of outstanding illustrators in the Quist pantheon.

A week went by and I again climbed the stairs to the ominous apartment and knocked on the door. Nothing. I knocked again… and again. No response. The whole apartment building was soundless. No one seemed to be around. I didn’t know what to do. I went downstairs to see if I could find a door that said “Super” on it … or something. NOTHING. I went outside and looked for an entrance to a basement where I might find someone to give me assistance. I found a door that looked promising. I opened it and entered going down a few steps into a dark musty basement. It was EXACTLY like being in one of those horror movies. There were passageways, overhead pipes, electrical fuse boxes. It was dank, quiet, dark and eerie. After trying different paths that wound through the vast basement, I started to hear faint music coming from a radio. I followed it to a small room where I surprised an old fellow who was sitting there. I enquired about Mr. Quist.

“He’s gone” the super said.

“But … but” I stammered, “I need my portfolio that is in his apartment”.

“NO” he said, “He doesn’t pay his rent. We kicked him out and everything in that apartment belongs to us.”

I explained that I didn’t even know Harlin Quist. That I had never even met him. That I had just left MY portfolio for him to look at. It belonged to me. I had nothing to do with Mr. Quist. He replied that nothing could be done. Everything in the apartment was confiscated. I guess I started pleading, maybe even sobbing, about how my livelihood required that portfolio and etc. and etc., because he grudgingly relented and I followed him up the stairways to the foreboding apartment which we entered and finally found my portfolio, among others strewn about the place. I showed him my name on it and I left.

Now, I see that Quist has died and that my good friend Étienne, who had done four books (sometimes written by his friend Ionescu) for Quist, has written in a recent interview that Quist and his partner Francois Ruy-Vidal were con men, crooks and charlatans that didn’t pay proper royalties (if they paid anything at all) to their contributors and even though many illustrators were warned by Etienne and others of this fact, the illustrators continued to flock to his door hoping to do one of the  beautiful, Harlin Quist award-winning books.

Randy Enos

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Harlin Quist passed away in 2000 at the age of 69.  Read Harlin Quist’s obituary in the New York Times. –Daryl


Read more more of Randy’s cartooning memories:

Monty Python Comes to Town

Riding the Rails

The Pyramid of Success

The Day I Chased the Bus

The Other Ol’ Blue Eyes

8th Grade and Harold von Schmidt

Rembrandt of the Skies

The Funniest Man I’ve Ever Known

Read “I’m Your Bunny, Wanda –Part One”

Read “I’m Your Bunny, Wanda –Part Two”

Famous Artists Visit the Famous Artists School

Randy Remembers Tomi Ungerer

Randy’s Overnight Parade

The Bullpen

Famous Artists Schools

Dik Browne: Hot Golfer

Randy and the National Lampoon

Randy’s Only Great Idea

A Brief Visit to Outer Space

Enos, Love and Westport

Randy Remembers the National Cartoonists Society

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Notre Dame Fire

4/16/19 A bunch of new Notre Dame Fire cartoon favorites are added below. –Daryl

It was such a horror, watching the fire consume Notre Dame. I drew a cartoon as fast as I could –a teardrop cartoon. It was the best I could come up with on short notice. The editorial cartoonists think teardrop cartoons are trite, but we all do them. Readers love the teardrop cartoons at tragic times. I went with the Charles Laughton hunchback. So sad to see this unfold.

Here are some new favorites, from the day after, 4/16/19 …

This one is by my friend, French cartoonist Robert Rousso

 

This one is by Sean Delonas.

 

This is by Rick McKee of the Augusta Chronicle.

This one is by Jeff Koterba of the Omaha World Herald.

This is by Steve Sack of the Minneapolis Star-Tribune.

 

The first Notre Dame cartoon that came in to us was from my buddy, Randy Enos.

This one is by RJ Matson.

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Dumping Refugees on the Dems

President Trump threatened to dump migrants on sanctuary cities last week. The mayors of the sanctuary cities, and the governor of my sanctuary state, California, all say that they welcome the refugees and I think they are sincere in that. What Trump sees as dumping human garbage on his political opponents to prove their hypocrisy would really amount to placing the migrants in places that are the most likely to truly welcome them and help them on their difficult journey. Much of the media buzz has been about how terrible Trump’s intentions are and how the move would be illegal; little attention has been paid to the fact that it is could be good for the migrants.

My cartoon shows how Trump views the plan.

 

Here are some of my recent migrant favorites by my cartoonist buddies. The migrant plan is the brainchild of Trump’s nefarious advisor, Stephen Miller, who Steve Sack contrasts with Melania.

 

My pal, Monte Wolverton draws the weaponization of migrants.

 

Trump seems to be fenced in by the law, as seen by my pal, John Cole.

 

My buddy Nate Beeler draws our “full” country.

 

My conservative buddy, Rick McKee sees opportunities to bash Democrats everywhere.

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Monty Python Comes to Town

I grew up admiring my buddy, Randy Eno’s work in The National Lampoon when I was in high school and college. Here’s another Randy flashback. See Randy’s editorial cartoon archive here.  –Daryl


One of the really big features I did for The National Lampoon was the spoof on the Monty Python television show. It was about an 8 page spread with lots of funny bits illustrated by me imitating the style of the Python animator Terry Gilliam, the only American in the troupe. To hold the 6 or 8 pages of the spread together, I thought of the idea of a long python snake running along the bottom third of the pages continuing on through the whole feature. In keeping with the idea of imitating Gilliam’s style, I decided to do the snake with an airbrush. The only problem was that I had never used an airbrush before and didn’t have one. So, I borrowed the tool from an illustrator friend who loaned me an old one she had. As I proceeded through the long rendition of the python, the faulty, old airbrush would occasionally spit and sputter creating little blobs in my otherwise nice clean “Gilliam-like” smooth airbrush style. So, everywhere a little blob or spot appeared I’d paint in a bush or shrub to cover the mistake. Needless to say, there were a lot of little bushes and shrubs in my picture.

The rest of the pages were decorated with merciless crtiques of Gilliam’s cut-and -paste, crude, rough style. I portrayed the Queen employing Scotch taped photos of her along with fatuous British-types in an exaggerated, blotchy, messy parody of his hurried, short-hand animation style. I remember putting in the line “when in doubt, draw the queen”.

It came to pass, a short time after this parody was published that Mike Gross, the art director, left the Lampoon to start his own graphic design studio. One of the projects he tackled was a book on the Python folks. When that project was over, the Pythons had come to New York and were doing a stage show at Town Hall. Gilliam, who was always absent from the TV version of the show because he had all he could do with creating the visual parodies that peppered the show, was for the first time performing along with his colleagues in the sketches that TV viewers were familiar with.

Mike decided to have a party to celebrate the completion of the book plus their show in New York. The party was held in a loft; hotdogs, were supplied by a Sabrett wagon, complete with umbrella, parked in a corner of the loft. Besides the Python people, the guests included Gilda Radner, John Belushi, Peter Boyle and others.

I had terrors of running into Terry Gilliam, who I had made so much fun of in the Lampoon spread that I decided that I would avoid him at all costs. It wasn’t to be, however, because I was standing right in front of the elevator when it decided to disgorge, along with others, Harvey Kurtzman with Gilliam in tow. I tried to hide but Kurtzman, who knew me (I don’t remember how he knew me) blurted out, “Randy, I want you to meet Terry Gilliam.” I was dead.

Gilliam shook my hand and said, “Hey, man, I love that parody you did on me in the Lampoon!” While my wife discussed acting with Belushi, I discussed cartooning with Gilliam. At one point he asked if I had kids. I told him I had two boys. He then invited my wife and I and the boys to come to see the Python show at the Town Hall. He asked me to see him after the show and he’d take us all back stage to show us all the Python gear.

A million years later when Terry had become the famous director of Fisher King, Time Bandits and my all-time favorite, Brazil, an actor friend of ours was playing one of the doctors in Gilliam’s 12 Monkeys. I asked my friend to say hello to Terry for me the next time he was on the set with him. Later on, I ran into this actor and asked if he had done so. He said, “Randy, I am VERY impressed. I told Terry you said hello and he said that you were his favorite cartoonist!”

Randy Enos

Email Randy

 

Read more more of Randy’s cartooning memories:

Riding the Rails

The Pyramid of Success

The Day I Chased the Bus

The Other Ol’ Blue Eyes

8th Grade and Harold von Schmidt

Rembrandt of the Skies

The Funniest Man I’ve Ever Known

Read “I’m Your Bunny, Wanda –Part One”

Read “I’m Your Bunny, Wanda –Part Two”

Famous Artists Visit the Famous Artists School

Randy Remembers Tomi Ungerer

Randy’s Overnight Parade

The Bullpen

Famous Artists Schools

Dik Browne: Hot Golfer

Randy and the National Lampoon

Randy’s Only Great Idea

A Brief Visit to Outer Space

Enos, Love and Westport

Randy Remembers the National Cartoonists Society

 

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Julian Assange Trapped

Wikileaks founder, Julian Assange, was captured by British authorities this week when the government of Ecuador decided they had enough of him, and invited the cops inside tomato the arrest. The president of Ecuador described Assange as a “pebble in his shoe.” Assange was hiding out in the embassy for seven years to avoid being arrested, but he was such a bad house guest that the Ecuadorians were eager to get rid of him. Assange had sued his hosts, and expressed his frustration by rubbing his feces on the walls. It also seems to annoy the Ecuadorians that Assange didn’t clean up after his cat. I think that’s funny.

Here’s my Assange in a rat-trap cartoon.

Yes, he looks different. He grew a white beard and let his hair grow out, tied back tightly in a little “man-bun.” With that big white beard, I had to make him into a white rat.

Here are a couple of my favorite Julian Assange cartoons, from before the beard.

This one is a urine leaking Assange from Taylor Jones.

 

I love the simplicity and the odd angle of this Assange by my buddy, Angel Boligan.

I love this Assange by Kap from Barcelona.