Blog Newsletter Syndicate

Bulldog Bennet

No coronavirus cartoons today (you should go to for that). My legendary cartoonist buddy Randy Enos shares another story about his early days as a cartoonist.

Email Randy Enos

Visit Randy’s archive  –Daryl

We had all heard the stories, of course, but we didn’t really believe them. So, when I graduated from the 5th grade at the Merrimac Street School in 1946 and was about to start at the Parker Street School, I went with no real idea about the awful terrors I, and my doomed classmates were about to encounter. 

Life at Merrimac had been sweet and carefree. Behind the medieval- looking building, there was a nice little playground. I envied my best friend Ottello because he lived but a few strides across the street. He could wake up late and just saunter over to school, whereas I had to often brave snowstorms that pushed so hard on my little body as I crossed the Common that many times I almost gave up to go back to my warm  house.

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Each morning all the classrooms assembled in the halls, upstairs and down, as we pledged allegiance to the flag. An old Victrola was hand cranked. The little wooden doors on its base were opened  and the creaky sounds of The Star Spangled Banner wafted up the stairway to our young ears. Ah, the good ol’ days… we’d soon be missing them … very … very … soon.

I went on through the 6th grade at Parker St. School and then it happened. In the 7th and 8th grade, for the first time we had a home room and went off to other rooms for other classes. My home room was my English class. I had a wonderful teacher, Mrs. Brown, who happened to live in my neighborhood . I would see her sometimes sitting on her front porch rocker.

Across the hall was my history/geography class presided over by a viciously cruel and petty teacher… the absolute WORST teacher in the New Bedford school system known all over town by kids who didn’t even go to this school … the infamous, BULLDOG BENNET! 

Parker St. School

She was very short and squat with a pile of grey hair on her head and squinty slanted eyes and a face that looked EXACTLY like a bulldog. She had a permanent scowl. We never saw her smile. We came to think that she wasn’t even capable of smiling. Almost everyone in class was in terror of her and kids could be seen visibly shaking as they entered her class every day. Of course there were a few goody- good “teacher’s pets” who sailed through the two years unscathed, but certainly not your humble narrator. I got insanely awful grades. My father, a former dirt-poor immigrant kid who had never attended school in his whole life, was a stickler for me getting good grades (which I did achieve in Geometry, surprise surprise) and English. But, fortune, never the less, shined down on me due to the fact that Miss Bennet was an ardent right-wing, very outspoken bigot and snob. My father was an ardent Socialistic union man who loved Roosevelt. When my dad heard my terror tales of the horrors going on in my history and geography class, he forgave my bad grades … PHEW!  He hated her as much as I did.

She loved to embarrass us kids in class. One time she made us stand and tell what church we went to. I was a product of an atheist household without benefit of a religion so I had to make up a lie about going to some Portuguese church to avoid the obvious confrontation that would have ensued. Anything she could pick on with a kid-victim was fodder for her seething, snarling scorn. Each day she would feed us her political propaganda woven into the history and geography lesson and I would report it back home to dad.

My home room, with the wonderful Mrs. Brown, was my safe haven. One day, knowing my interest in becoming an artist, she asked if I would like to undertake a mural for the classroom. It was to go all the way around the room except for the front blackboards which were used for the lessons. For some reason we were blessed with blackboards on the sides and back of the room. Supplied with colored chalks, I decided I would create a detailed jungle masterpiece peopled with parrots, monkeys, vines and colorful flowers. Sometimes Mrs. Brown would excuse me from the regular class involvement (remember I got good grades in English) to work on my project while the other poor slobs had to recite and compose and read. I loved my mural commission and really got lost in the jungle, inventing the swooping branches, vines and flora that housed my acrobatic monkeys and wildly colorful parrots. I’d stay late in class after school often to work on it.

One day, as I was engaged in my artistic endeavor with only Mrs. Brown at her desk, I became aware of another presence in the room. I turned slowly around to see the awful Bulldog Bennet standing in the doorway glowering at me. Time stopped dead as she spoke … “If he spent half the time attending to his lessons as he does to his art, he’d probably make something of himself!” By Mrs. Brown’s expression and the comments, she made at that point, I could tell that she shared my dislike for our neighbor across the hall.

Bennet went on for those two years bragging that when she was a schoolgirl she would weep if she got only an A, instead of an A+. She would invite the two or three girls who were her favorites to her house for tea and then, the next day, tell us all what fun they all had. 

When we all finally graduated to New Bedford High School it was like a deadly curse had been lifted from our battered psyches.

Years and years later, after I was well into my illustration and cartooning career and my mother had died and my father had retired and was doing volunteer work for the Red Cross, he told me that he was regularly taking residents of a nursing home for drives in his car just so they could get out and around a little. He said, “You’ll never guess who is one of my regular ladies … Bulldog Bennet! He said that she was a little shriveled and quite senile version of her old self. He also told me that he always stopped somewhere to buy the ladies an ice cream cone on their trips. He said that the only thing he would ever hear out of her little high, squeaky, cracked voice was… ” Ice cream … ice cream … ice cream!” 

And, so, that’s the way it ended for the infamous Bulldog Bennet … a tiny pitiful voice pleading to my dad “Ice cream … ice cream … ice cream!”

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Read many more of Randy’s cartooning memories:

Me and My Axe

The Ugliest Woman in the World

Baseball Soup

The Lady with the Mustache

The Rest is History

Randall Enos Decade!

Never Put Words in Your Pictures

Explosion In A Blue Jeans Factory

The Garden of Earthly Delights

Happy Times in the Morgue

I was the Green Canary

Born in a Volcano

When I was a Famous Chinese Watercolorist

My Most Unusual Art Job

A Duck Goes Into a Grocery Store

A Day With Jonathan Winters and Carol Burnett

Illustrating the Sea

Why I Started Drawing

The Fastest Illustrator in the World!

Me and the GhostBusters

The Bohemian Bohemian

Take it Off … Take it ALL Off!

I Eat Standing Up

The Funniest Cartoon I’ve Ever Seen

The Beatles had a Few Good Tunes

Andy Warhol Meets King Kong

Jacques and the Cowboy

The Gray Lady (The New York Times)

The BIG Eye

Historic Max’s

The Real Moby Dick

The Norman Conquests

Man’s Achievements in an Ever Expanding Universe

How to Murder Your Wife

I Yam What I Yam

The Smallest Cartoon Characters in the World

Chicken Gutz

Brought to You in Living Black and White

The Hooker and the Rabbit

Art School Days in the Whorehouse

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 NCS

Blog Newsletter Syndicate

Still More of When I was President

Here is part three of my story about my time as NCS president. Read part ONE and part TWO of the story.  –Daryl Cagle

Arnold Roth did the theme art for my second convention, in Boca Raton, Florida, to support the International Museum of Cartoon Art.

I continued my “wedding planner” role as NCS president in my second year, and started work on planning my second convention.

At the time, Mort Walker was running a cartoon museum in Boca Raton, Florida. The museum was lovely, but struggling. The collection had originally been housed in a charming, concrete castle in Portchester, New York and I visited there frequently when I lived in NYC and Connecticut. The move to Florida was tough on the museum which was having trouble paying the mortgage on their new building, and having trouble drawing a crowd in their new location.

My first NCS convention at New York’s World Trade Center turned a profit of something more than $30,000.00. In those days the NCS kept a “prudent reserve” of about $250,000.00 on hand –enough to cover a convention that goes wrong, and now the reserve was pushing $300,000.00. With some new money burning a hole in our pockets, I asked the board to give a $30,000.00 donation to Mort’s struggling, Florida museum. Some people objected to the NCS’s donation. The loudest critic was Wiley Miller, who draws the comic “Non-Sequitur.” Wiley publicly and loudly resigned from the NCS, on the pages of Editor & Publisher magazine, because of the donation, which he described as a “misappropriation of funds,” and he later went on to draw a series of comics depicting me as a rotund, evil character, doing various dastardly things, in the newspaper comics pages. (Wiley spent a few years in the wilderness, then rejoined the NCS, and later went on to win the Reuben Award.)

Mort’s Museum of Cartoon Art as it used to be when I visited often, in Portchester, NY.

Cartoonists can be a grouchy bunch. Over time, volunteer organizations gather people who carve out niches for themselves and most of the rancor I faced as president was related to people defending a patchwork of old turf they had claimed, or thought they deserved. Some of the acrimony spilled into chat boards and social media. I didn’t win all of the battles. A big turf battle I lost was about the NCS’s longtime attorney who I wanted to fire. NCS old-timers threatened to give me major trouble if I canned their lawyer buddy, and I backed down. I ended the relationship with the NCS’s beloved travel agent, and the hefty travel agency fees on our hotel room blocks were redirected into paying our new management company’s fees. Our board was rowdy and we voted to kick one board member off of the board. I had a growing list of vocal detractors who complained loudly when I stepped on their toes. I have a pretty thick skin though, and I stirred the steamy cartoonist pot when I thought it needed stirring.

The International Museum of Cartoon Art, as it used to be in Boca Raton, Florida.


Cartoonists in Ohio made a strong case for the next convention to be held in Cleveland, and my wife, Peg, and I did a site visit there. The Cleveland Plain-Dealer newspaper made a generous donation to the NCS to woo us. The Ohio cartoonists had proposed a hotel and made preliminary arrangements for a party at the Rock ‘n Roll Hall of Fame. Then I got calls from Mort Walker and King Features, who were proposing that the next convention be held at Mort’s International Museum of Cartoon Art in Boca Raton, Florida.

Mort’s cartoon museum was near death. King Features proposed generous support for both the NCS and the museum by offering to throw a big party at the museum, if we brought the convention to Boca Raton. Mort and King Features thought the museum needed the publicity and a show of support from the cartoonists. Losing the museum would be a blow to our profession, and I had to agree. The NCS had held the Reubens convention in Boca Raton a few years earlier, when the museum building was under construction, but this looked like it might be the last opportunity to do what we could do to save the museum.

We had a lovely party in 2001 at the International Museum of Cartoon Art, but the museum later failed, just as we had feared. At one point, they even considered using only half of the space, and renting out the other half to a “Museum of the Holocaust” that was looking for a home in Boca Raton. I suggested that they make a revolving sign, Mickey Mouse on one side, inviting everyone to the Cartoon Museum, rotating with the Holocaust on the other side – but alas, someone must have thought the two museums weren’t a good fit.

We did a roast of cartoonist Mike Peters at my second convention.

The convention went well. Steve McGarry directed both the show at the Saturday night Reuben Awards, and a Sunday roast of cartoonist Mike Peters. I learned that many NCSers do an excellent impression of Mike Peters, including Jeff Keane who dislocated his shoulder while running up the steps to the stage, and hid the pain so the audience never knew that he was suffering. When Jeff left the stage, he was rushed off to a hospital. What a pro! Mike Luckovich took over the emcee roll for Reubens night, living up to the high standard established by Bil Keane over the course of many years. Mike did a great job, saving the day again.

I think this is a self-portrait of Arnie.

I had a huge presidential suite at the Boca Raton Resort & Club, something hotels throw in as part of a big room block. These crazy suites seem like a fun perk, but they are a burden. Though they are given to the president, they are really being given to the NCS which means there should be a party in the big room all the time, even when I want to sleep. I got a separate, regular hotel room where I actually slept, and where I could make a mess without worrying that someone might walk in.

I asked Arnie Roth to do the theme art for the convention, and I enjoyed working with Arnie as I did with Jack Davis the year before. This is the best part of the NCS president’s job. I also wrote a column in each of our newsletters and a different artist drew my portrait for each column, so I collected a bunch of great portraits. And the board gave me a lovely Jeff MacNelly original as a parting gift; it hangs in my living room.



The Congressional Gold Medal for Charles M. Schulz was an important award for the whole cartooning profession to show that cartoons are not “frivilous.”

Near the end of my tenure, my attention turned back to Sparky. I got a call from Senator Dianne Feistein’s office asking for help. The Senator had authored legislation that would give the Congressional Gold Medal to Sparky posthumously; this was America’s highest civilian honor and Sparky would be the only cartoonist in history to receive it. The bill should have sailed through the Senate, but it was being blocked by one senator, conservative, Republican Jesse Helms from North Carolina. Senator Feinstein had tried everything she could and was looking for help. Helms objected because he thought the award was “frivilous.” This was an important award for the whole cartooning profession to show that cartoons are not “frivilous.” Helms wouldn’t budge and it looked like the Gold Medal was going nowhere.

I reached out to a bunch of cartoonists asking if they had any contacts or ideas on how to twist Helms’ arm and I found Marie Woolf, a talented cartoonist whose work I syndicated back when my syndicate was young. Marie had previously worked for Republican Senator Orrin Hatch from Utah; she called Hatch and made an impassioned plea for help. Marie asked me to have the NCS send a huge, red white and blue “patriotic” bouquet of flowers to Hatch’s office, which I did. That patriotic bouquet was a whopper.

Senator Hatch turned out to be a nice guy and a cartoon fan. He later wrote a forward for my Best Political Cartoons of the Year 2006 book. Tucker Carlson wrote a forward too, and he’s also a cartoon fan and a nice guy. (That’s crazy talk from a liberal cartoonist like me.)

It turned out that Hatch was a cartoon fan; he twisted Helm’s arm and Helms backed down, clearing the way for the Gold Medal –so the credit for the Gold Medal really belongs to Marie Woolf and Orrin Hatch. The House and Senate approved the award with only one dissenting vote, from Congressman Ron Paul of Texas. Hatch turned out to be a nice guy, and he later wrote a forward for my Best Political Cartoons of the Year 2006 book. There was a lovely Congressional Gold Medal celebration in Washington, but alas, by the time the Gold Medal party happened, I was no longer NCS president, and I missed out on the celebration.

By the time my presidential term came to an end, each of my Reuben conventions had turned a good profit; I inherited the NCS in good financial shape and left it in better shape. The new management company was collecting the membership dues properly, had cleaned up the records, and acclimated to the idiosyncrasies of our quirky needs; they were well-positioned to take on much of the work of future NCS events. I had cleared out much of the patchwork of claimed turf. We had raised expectations for more ambitious Reubens weekends. And, frankly, my wife Peg did most of my work.

Even though this all happened twenty years ago, it still makes me feel tired when I think about it; but I have lots of nice trophies and memories from the experience and I continue to enjoy the NCS as a civilian.

Some cartoonists complain that they don’t “get anything” from the NCS –what they get is the opportunity to hang with their colleagues and meet their cartoon heroes. I wholeheartedly recommend that all professional cartoonists join the NCS, visit the NCS site for more information about joining.

Read more old stuff about my career as a cartoonist on

When I was President, PART TWO of three

When I was President, PART ONE of three

Was I Sunk by Submarines?

Baptists, Gay Marriage, Hawaii, Mazie Hirono, Bert and Ernie

Genies Turned me into a Political Cartoonist

Muppet Mob Scene

CagleCartoonists in France


TRUE Color

TRUE Stupid Stuff 2

TRUE Stupid Stuff

TRUE Sex 3

TRUE Sex 2


TRUE Life Stuff

TRUE Crazy Stuff 4

TRUE Crazy Stuff 3

TRUE Crazy Stuff 2

TRUE Crazy Stuff

TRUE Devils, Angels and YUCK

TRUE Kids 3

TRUE Kids 2


TRUE Health Statistics 3

TRUE Health Statistics 2

TRUE Health Statistics 1

TRUE Women’s Body Images

TRUE History

TRUE Marriage 2

TRUE Marriage

TRUE Business

Garage 8: MORE!

Garage 7: TV Toons

Garage 6

Garage 5

Daryl’s Garage Encore! (Part 4)

Still More Daryl’s Garage! (Part 3)

More Garage Art (Part 2)

Garage Oldies (Part 1)

29 Year Old Oddity

Daryl in Belgium

Cagle in Bulgaria

CagleCartoonists Meet in France

Cartooning for the Troops in Bahrain


Answering a College Student’s Questions about Cartoons

Punk Rock Opera

Blog Newsletter Syndicate

Where do you get your ideas?

Here’s a nice piece from my brilliant buddy, Bob Englehart. Support Bob on Patreon

The question I’m asked most often is, “Where do you get your ideas?” It’s a simple question with a complicated answer. The questioner is not asking what information I’ve found, or the source of the news I based the idea on. The questioner wants to know how my brain works, what my imagination conceives and how, out of the jumble of thoughts, one comes forth and plunks me in the head. I sometimes would answer, “From the Editorial Cartoon Idea Company in Teaneck, New Jersey.”

Since the beginning back in Chicago, an idea just comes to me, most times several. I don’t exactly know how it happens. The trick is to recognize it; the good one from the lame one, to know which one would make an outstanding cartoon. I’ve looked at plenty of editorial cartoons over the years and learned how to deconstruct them. In the end though, it’s about making choices. If I’m going for a funny cartoon, I want one that makes me laugh. After all, I’m the first reader. If someone has died and I’m sad, I want a cartoon that reflects my sadness, or my appreciation of the life the deceased led. If I’m pissed, I want a cartoon that demonstrates it. Whatever my feelings, I want to share it with the world because I know I’m not alone in whatever I’m feeling. I think that’s one of the very important things a cartoon, any cartoon, does. It shows us we are not alone in our feelings.

It starts with the quick little drawing called a “gag.”

My ideas emerge because they seem logical and obvious. So often I think that someone must’ve already drawn that idea, or maybe it was drawn dozens of years ago and I conjured it up from the dark web of my memory. I finally realized it’s only obvious to me. That’s the cool thing about being an individual in a sea of humanity. There are only about 25 full-time editorial cartoonists employed by a newspaper in America, but if you go to the Internet and look, there are thousands, most of them amateurish and tedious with no sense of timing, drawing talent or sense of humor. But each cartoonist is doing their best to share their opinion.

The next step is to make a tracing of what the finished art will look like.

So, a better question is, “How do you develop your ideas?” This, I can answer, or rather, I can show you.

It starts with the quick little drawing called a “gag.”  The name doesn’t mean it’s necessarily funny. Stuntmen and women call the stunt they’re going to perform a gag also. I jot it down because it’s easy to forget the purity of the original idea and the perfect wording. I usually write it in a reporter’s notebook, but I’ve written them on restaurant napkins. I also carry a small notebook in my back pocket.

Then I draw the cartoon in black line on glossy copy paper.

The next step is to make a tracing of what the finished art will look like.  I fix spellings as I go, work on the likeness of my caricature, maybe change the layout, erase, maybe flip the whole thing, erase again, whatever I think it needs. This is the “blueprint” for the drawing.

Then I draw the cartoon in black line on glossy copy paper. I most often use Micron markers, but now and then, I use Zig Cartoonist black ink and a flexible crow quill nib. Hey, if pen and ink was good enough for Leonardo DaVinci, it’s good enough for me. I scan the line art into my computer using Photoshop, add color, change the composition here and there, fix more spellings (I’m the world’s worst speller, particularly with names) and tinker with it till it looks right to me. The finish is in a digital format that I send to ready for publication, except when they call or email me that I’ve misspelled another word, a word I was confident I knew how to spell and didn’t bother to check.  (As happened with this cartoon, after we sent it out to newspapers, and we had to issue a correction. Arrrgh! –Daryl)

So, that’s the process. I still don’t know exactly where I get my ideas but I know how to make them into a cartoon.

Bob Englehart, E-mail Bob

Support Bob on Patreon

Read Bob’s Other Post:

The Birth of a Political Cartoonist

Blog Newsletter Syndicate

How To Murder Your Wife

My cartoonist buddy, Randy Enos, shares his memories. How to Murder Your Wife is still my favorite movie.  –Daryl

As a young kid who wanted to be a cartoonist back in the 40’s, I can’t tell you what a thrill it was when a cartoonist would show up in a movie I was watching. It happened only a few times but I’ll always remember the impact it had on me. Like everyone else, I liked the cowboys and the G-men but to see a cartoonist sitting at a big slanted drawing board at work on one those big comic strip panels, pushed all else aside.

My first favorite comic strip was Bringing Up Father featuring Jiggs and Maggie. The clean, ultra thin pen lines describing those wonderful exaggerated poses caused me to pick up a pen and try to emulate them. The cartoonist George McManus also did the most wonderful backgrounds and interiors with loving detail. So, imagine my excitement when, while watching a Jiggs and Maggie movie, the cartoonist himself made an appearance following Jiggs and making little notes in his sketchbook. He appeared again later peering in the window of Jiggs and Maggie’s home. Well, the movie got a whole lot more interesting at that point. McManus was following them around and sketching them! I found out later that he liked to appear in the movies made about his characters and I saw him a few times more. In another one of the movies, Maggie
was trying to ascend the ladder of society, as usual, but was being hindered by the fact that all her friends made her a figure of ridicule by pointing out that she closely resembled that awful nag Maggie in the comic strip. So, in the movie, she goes to visit McManus and demands that he stops drawing her in the strip. He promises to do so but, doesn’t –so she is forced to bring him to court. The movie was called “Jiggs and Maggie in Court.”

When you went to the movies in those days (25 cents), you were treated to a short feature, a newsreel and then the full length feature. The Red Ryder movies were some of those shorts. I got a jolt while watching one of them one day when suddenly the cartoonist Fred Harman himself appeared and was seen sketching Red and Little Beaver. There he was in a cowboy hat capturing his hero in action. It was great watching him actually drawing the pictures.

In 1950, there was a movie called The Petty Girl with Robert Cummings playing the famous pin-up girl artist George Petty. I used to see his illustrations in Esquire magazine and here was a Hollywoodized version of his life. Not a very good or accurate telling of his life I’m sure but, again, I got a kick out of seeing an illustrator at work.

In 1955, just as I was starting art school there was the great Martin and Lewis movie Artists and Models which again depicted a cartoonist at work.

In 1965, along came the movie How To Murder Your Wife with Jack Lemmon playing a well to do cartoonist living in a New York townhouse with a garage for his car. He had a man-servant played by Terry Thomas. In this movie you see the cartoonist at a large slanted board in his high-ceilinged studio penning his strip “Bash Brannigan” in large panels. He never asked his character to do anything he couldn’t do so he would costume-up and enact all the action by hopping around on roofs and chasing imaginary villains while his man-servant followed with a shot-gun camera recording it all to be later used as reference pictures for his realistically drawn strip. I loved the whole atmosphere of his studio and equipment and slept through the love scenes with Virna Lisi.

In 1997, the movie Chasing Amy depicted the world of the independent comic book artists of the times. Ben Affleck played the artist-writer of his comic book with Jason Lee playing his inker and colorist. At the beginning of the movie, there is a confrontation with a fan at a Comic Con wherein Lee is ridiculed for being just a “tracer.” Now, we all know the inkers of comic books are a highly respected, necessary and valuable breed all to themselves and earn special credit on the covers, so I found it a little implausible that a comic fan would be so insulting to an inker of a famous comic book, but aside from that, I enjoyed seeing them at work in their studio. Lee appears to be inking with a Sharpie, the pen of choice of the modern generation of comic artists. Their drawing boards are back to back so they are facing each other as they work. I thought that was a good touch because I happened to know the cartoonists Stan Drake (The Heart of Juliet Jones) and Leonard Starr (On Stage) who worked that way in their shared studio in a cloud of cigarette smoke that was unreal. Later on, when they both became the cartoonists of Blondie (Stan) and Little Orphan Annie (Starr), they continued facing each other –and continued smoking up a storm.

After I had been an illustrator and cartoonist for many years, the Westport illustrator, John McDermott saw his book “Brooks Wilson Ltd” made into the movie Loving in 1970. It starred George Segal as a Westport illustrator and Eva Marie Saint as his wife. This was probably the most realistically portrayed movie about the life of an illustrator that I ever saw. They didn’t even shy away from showing the artist using a belopticon, the machine that projected photographs onto the illustrator’s paper or canvas for tracing. Pretty much all the illustrators, except a few like von Schmidt and Fawcett, used this device and usually hid them away from visitors to their studios (Norman Rockwell was one of few illustrators that admitted to using one). And, here in “Loving” we see Segal using one to trace a photograph of himself and his wife posed for an illustration.

Westport was taken over by the movie company for a while during shooting of that movie. When we went down to the train station, we would see cameras ready to record Segal waiting for the train and cameras poised to capture the oncoming train. Bernie Fuchs‘ studio was used as the illustrators studio and if you went down to our only art store, you’d find that the movie company had purchased every portfolio in the place.

But, of course, there was a teensie-weensie little, itty-bitty flaw in the otherwise flawless movie and I caught it. At one point, Segal is crossing the street in New York with his portfolio in hand and there is a bit of a wind. The wind catches the portfolio and lifts it up revealing that it was weightless… light as a feather… nothing in it as he supposedly was on his way to his agent with a big job.

Ah, Hollywood.

Email Randy Enos

Blog Newsletter Syndicate

Free Musa Kart

Political cartoonist Musa Kart is in jail again in Turkey, for another year, for doing his job. I have written about this before.

Some cartoonists answered a recent call from Cartooning for Peace to submit more drawings in support of Musa. Go to #freemusakart or try this link see these drawings on Twitter.

Many of the cartoons include cats because of Musa’ famous cartoon of Turkey’s despot, Recep Tayyip Erdogan as a cat that first drew Erdogan’s ire and landed Musa in prison. That my own cartoon contribution at the right.

My buddy Pedro Molina did a very nice recap of Musa’s story in comic form – see it below. Pedro recently escaped from persecution by Daniel Ortega’s thugs in Nicaragua and is living at an undisclosed location outside of the country.

Want to help Musa? Write a letter to the two diplomats at the addresses below.

Jeffrey M. Hovenier, Charges d’Affaires
Embassy of the USA to Turkey
110 Atatürk Blvd.
Kavaklıdere, 06100 Ankara

H.E. Serdar Kılıç,
Embassy of the Republic of Turkey to the United States of America
2525 Massachusetts Avenue, NW
Washington, DC 20008

Blog Syndicate

TRUE Crazy Stuff!

Here’s a batch of some crazy TRUE stuff from my factual cartoon panel from the 1990’s that never gets old!

Blog Syndicate

Welcome Jos Collignon!

We just added a new cartoonist to our newspaper syndication package – Jos Collignon from Holland. We think Jos is great! See more of his cartoons below, and on his archive here.

Welcome, Jos! This newspaper-reading-Trump-voters will see your cartoons now –give ’em hell!


Blog Syndicate

Malaysia Harassing Cartoonist Again

My Malaysian cartoonist buddy, Zunar, is suffering again from the thin-skinned government thugs. Zunar has been butting heads with humorless, Malaysian authorities for years. Here’s an interview I did with Zunar a couple of years ago at Ohio State University.

Last week Lunar was assaulted and detained by government goons at at exhibition of his work, leading to a renewed flurry of posts among cartooning organizations in support of Zunar; here’s the update from Cartoonists Rights Network International (CRNI) and here’s the translated post from Cartooning for Peace in Paris. Zunar sent a timeline of his experiences to his supporters in a mass email that I’ve pasted below. Good luck, Zunar!

From Zunar:
10th Sedition charge is on the way
On 26 November 2016, I was arrested, detained and investigated under two laws: the Sedition Act and the Penal Code. The arrest was made a day after an attack on me and my exhibition by the pro-government thugs. The exhibition was held at Komtar Mall in Penang, about 4 hours drive up-north from Kuala Lumpur. All 20 drawings that were exhibited have been confiscated by the police and now placed under their custody.
Even though I have been released, the harassment from the Malaysian government is far from over. I have to report back to the police in Penang on 27 December 2016 for further investigation. And yesterday (26 November), two peeple who assisted me in organizing the exhibition were also called up by the police for questioning.
I can smell that the 10th charge of the Sedition Act is on the way. I am already facing 9 charges under that draconian act and the trial is set to be on 24 January 2017.
Political cartoonist
27 Nov 2016)
Zunar (Zulkiflee Sm Anwar Ulhaque) is a political cartoonist from Malaysia. With slogan, “How Can I be Neutral, Even My Pen Has a Stand”, he exposes corruption and abuse of power committed by the government of Malaysia through his art.
Malaysian government is now imposing a travel ban on Zunar to prevent from travelling abroad.
Zunar is also now facing nine charges under the archaic Sedition Act and facing possible 43 years imprisonment and the court proceeding will start on 22nd Nov 2016. He was detained and locked behind bars twice under the Sedition Act – first time was on September 2010 for two days and on 10th of February 2015 for three days.
Five of his cartoon books have been banned by the Malaysian government on the ground that the
contents are “detrimental to public order.” His office in Kuala Lumpur has been raided a few times and
thousands cartoon books were confiscated.
The printers, vendors, and bookstores, have been harassed. Their premises have been raided and they have been warned not to print or carry any of his books or their bussiness licence will be revoked.
Three of his assistants were arrested. The webmaster, who manages his website and online bookstore, was called in by the police for questioning.
Zunar is the only Malaysian selected by Amnesty International as the first Malaysian for their biggest annual international campaign, ‘Write for Rights (#W4R) 2015′.
17 Oct 2016 – Zunar was banned from traveling abroad by the Malaysian government.
He will file a legal proceeding to challenge the ruling.
2 April 2015 – Zunar was slapped with nine charges under the archaic Sedition Act and facing possible 43 years imprisonment and the court proceeding will starts on 22nd Nov 2016.
Feb 28 2015 – More than 20 policemen raided his launching event in Brickfields, Kuala Lumpur and treaten to detain him and confiscate the book, ROS in Kangkong Land if he proceed. He had to cancel the program.
Feb 14 2015 – Hundreds of the books, ROS in Kangkong Land were confiscated by the police from the printer’s lorry en-route to the launching venue.
Feb 10, 2015 – Zunar was detained and locked up for three days under the Sedition Act. He was accused to have tweeted seditious comments in relation to the Federal Court’s decision which upheld the conviction of Opposition Leader Anwar Ibrahim.
The police opened up two separate investigations on him under the Sedition Act.  One is on the tweet criticising Mr Anwar’s sentence under the D5 Unit (Classified Crime). Another is on his cartoon books ‘Pirates of The Carry-BN’ and ‘Conspiracy to Imprison Anwar’.
28 Jan 2015 –  There was a raid on his office while he was on a speaking tour in London. More than 150 books were confiscated. Laws used: Printing Presses and Publications Act, Sedition Act, Penal Code.
6 Nov 2014 –  Three of his assistants were arrested and taken to the police station for selling his latest cartoon books. Law used: Sedition Act.
16 Nov 2014 –  The webmaster, who manages his website and online bookstore, was called in by the police for questioning. Law used: Sedition Act.
18 Nov 2014 –  The police have asked the online payment gateway that handles his book transactions to disclose the list of customers who have purchased his books through the official website The company was given no choice but to disclose it.
Law used: Sedition Act.
20 Nov 2014 –  Zunar was brought in for questioning to the Dang Wangi Police Station in Kuala Lumpur under the ‘Classified Crime Section’ involving three different laws.
Laws used: Printing Presses and Publications Act, the Sedition Act, Penal Code.
24 Sept 2010: Zunar was detained and locked up for two days after the publication of his book ‘Cartoon-O-Phobia’. Law used: Sedition Act.
July 2010: Five of his books – ‘Perak Darul Kartun’; ‘1 Funny Malaysia, ‘Isu Dalam Kartun’ Vol.1, 2, and 3 – were banned by the Home Minister on the grounds that the contents are “detrimental to public order.” Law used: Printing Presses and Publications Act.
Sept 2009: His office was raided by the authorities. Five hundred (500) copies of his book titled ’Gedung Kartun’ were confiscated. Law used: Printing Presses and Publications Act
Three companies which printed his books were raided. They were warned to not print his books in the future or their licence will be revoked. As a result, no printer dares to print his book. He has resorted to redacting the name of the printer to protect them. This is against the law, but he has no choice. The law in Malaysia requires both names of printing company and publisher on all publications.
Laws used: Printing Presses and Publications Act, Sedition Act.
Assault on vendors/book stores
Bookstores’ premises around the country were raided by authority and they were warned to not sell his books in the future or thier licence will be revoked.
Law used: Printing Presses and Publications Act, Sedition Act
1. How Can I be Neutral, Even My Pen Has a Stand
2. Talent is not a gift, talent is a responsibility
3. The can ban my books, they can ban my cartoon, but they cannot ban my mind, I will keep drawing until the last drop of my ink
1)  “Courage in Editorial Cartooning Award 2011” by Cartoonists Right
Network International
2) “Cartooning For Peace Award 2016” Geneva
3) Human Rights Watch Hellman/Hammett Award for 2011 & 2015
4) International Press Freedom Award, Committee to Protect Journalist, New York 2015
Blog Syndicate

Ugly Purge Lands a Turkish Cartoonist in Jail – Again

UPDATE Friday August 19, 2016: Dogan Guzel is released! Read about it in Spanish here, and the Google translation of the article here.

Two great cartooning organizations that I support, Cartooning for Peace and Cartoonists Rights Network International are spotlighting the arrest and imprisonment of Turkish cartoonist Dogan Güzel who was swept up in a mass arrest of journalists as he was visiting colleagues at the pro-Kurdish newspaper, Özgür Gündem in central Istanbul, which was raided and closed in the wake of the failed July 15th coup in Turkey. The Turkish police reportedly confiscated computers at the newspaper offices, which editors described as “looting” on Twitter.

Cartoonist Dogan Güzel being dragged off off to jail this week in a mass arrest at a small newspaper in Istanbul. He reportedly asked an attorney for a new shirt.

Dogan was convicted, sentenced to seventeen years in prison and spent a year and a half in jail for drawing cartoons critical of the regime in Turkey. He was given amnesty in 1999 and moved to Spain where he lived for more than ten years and was given political asylum; he is a Spanish citizen. He now lives in both Seville and Istanbul. Dogan is being held on the charge of “making propaganda for the Kurdish armed group PKK”.

The Özgür Gündem newspaper is small, with a circulation of only 6,700; it has been banned many times for its coverage of the Kurdish conflict, a continuing thorn in the side of Turkish President Recep Tayyip Erdoğan who seems to be using the coup as an opportunity jail all of his critics. Here is a nice report in Spanish. There is little or no coverage of this story in English.

Cartooning for Peace is soliciting cartoonists to draw on Dogan’s behalf. Cartoonists Rights Network International posted the report below.

Cartoonist Dogan Güzel was among the journalists arrested in the government raid on the Kurdish newspaper Özgür Gündem in Istanbul on Tuesday. Photos show the cartoonist in a torn shirt in police custody. In 1999, Dogan Güzel was the first recipient of CRNI’s Courage in Political Cartooning award. At that time, he had just spent a year in jail for “drawing a cartoon that called the state ‘weak,’ and for publishing his cartoons in the Kurdish language.” Cartoonists Rights joins Reporters Without Borders in condemning the closure of the newspaper and calls for the release of the journalists.

Message from CRNI founder Robert Russell
We have recently come to know that our friend and former Courage in Editorial Cartooning award winner, Dogan Güzel, has been rounded up in a raid on his newspaper in Turkey.
We call on the government of President Recep Tayyip Erdogan to quickly release our colleague Dogan Güzel, and all other journalists who are legally carrying out their professional duties in accordance with their constitutional rights. This kind of thing will happen in any country where the head of state is allowed to act as if they are more important than the constitution that they swore to protect. All of Turkey seems to be evolving into its own prison.
Robert Russell
Executive Director

Here is a sample of Dogan’s work. See more here.


Justifying Cartoonist Cutbacks – Budget or Politics?

As the economic problems facing newspapers continue, it is easy to presume that cartoonists are sacked because of tight budgets. Money troubles shouldn’t give cover to publications that dump cartoonists because of politics, particularly when the politics involve corrupt governments strong-arming the press.

My cartoonist buddy, Gado, is probably the best known African cartoonist. He recently lost his job, according to a report in the Times of Africa. Here is a notable quotes from the article:

Here's a sample of Gado's work from when he was a regular on
Here’s a sample of Gado’s work from when he was a regular on

In 2009 President Kenyatta, then the finance minister, tried to sue Gado over a cartoon pillorying him for a $100 million accounting error. In 2005 Gado outraged Muslims with a drawing of a woman suicide bomber asking: “I’m also going to get the 72 virgins… right?!”.

Gado was persuaded by his bosses to take a sabbatical last year after the Nation’s sister paper, The EastAfrican, was banned in Tanzania over a cartoon mocking President Kikwete. When he tried to return to work, Tom Mshindi, the editor-in-chief, said his contract would not be renewed.

Mr Mshindi denied that the decision was a reflection on the freedom of the press, which he said was “no better or no worse” than under Kenya’s previous government.

Gado said Mr Kenyatta and his deputy, William Ruto, had often put pressure on the paper’s management. “Freedom of the press is being rolled back and it’s dangerous,” he said. The Nation’s managing editor, Denis Galava, was sacked in January for an editorial attacking the government’s “almost criminal negligence”.

Visit Gado’s site to see his fine work.