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What’s In One Name?

What’s in One Name?

I’ve often thought that it would be great to have only one name, like cowboy gunslingers Paladin and Shane. Rock singers can be such superstars that they only require one name, like Madonna, Cher, Sting or Bono. One name is cool. My personal heroes are Lassie, Flipper, Shamu, Snoopy and Spartacus.

Great artists and composers are referred to by one name. Most people would be hard pressed to think of the full names of Michelangelo, Raphael, Monet, Degas, Rembrandt, Brahms, Bach or Beethoven – we think of them all by one name.

To be known by only one name implies success or infamy. We talk about “Hitler” more often than “Adolph Hitler.” “Walt Disney” became only “Disney.” After a slow start with “Mickey Mouse,” Disney went on to name more than 90 percent of his characters with a single name, from each of the seven dwarfs to Pinocchio, Bambi, Dumbo, Cinderella, Simba, Ariel and Aladdin. One name is so cool.

It’s not just the cartoon characters; the cartoonists themselves often go by single names. The top three editorial cartoonists in Canada are Cameron Cardow (“Cam” of the Ottawa Citizen), Thomas Boldt (“Tab” of the Calgary Sun) and Terry Mosher (“Aislin” of the Montreal Gazette). Around the globe cartoonists are expected to choose a single name. Usually the single name is the cartoonist’s last name; sometimes it is a combination of the artist’s names, like Mexico’s Antonio Neril Licon (“Nerilicon”). Thailand’s Stephane Peray is “Stephff.” Cuba’s top cartoonist is Aristedes Esteban Hernandez Guerrero, but his pen name is simply “Ares,” which is much easier to digest. Other top international cartoonists go by their first names only: Antonio, Pancho, Arcadio, Christo, Dario, Tayo, Petar, Olle – the list goes on and on.

Single names are less common among American cartoonists. The late, great Virgil Partch was known as “Vip.” Kevin Kallaugher, the former cartoonist for the Baltimore Sun, is “Kal.” Many American cartoonists sign their cartoons with their last name only, but we don’t call each other by our last names and we would expect attributions with our cartoons to list our full names. Many cartoonists, like me, put both their first name and last name into their signatures on their cartoons.

Going by one name is not always a matter of choice for a cartoonist. Newsweek magazine is known as a showcase for editorial cartoonists, and it is their policy never to mention a cartoonist’s first name. Newsweek takes the cartoonist’s signature out of his cartoon and prints the cartoonist’s last name in tiny type under the cartoon. In Newsweek, political cartoonists Larry Wright, Dick Wright and Don Wright would each be called, “Wright.” Editorial cartoonists Kirk Anderson and Nick Anderson are both “Anderson.”

Going by one name is cool, when it is a nickname, or when it is a name that someone chooses for himself. When somebody else chooses to call me by one name it shows disrespect, much in the way that a drill sergeant talks down to his troops in boot camp. I can’t imagine Newsweek referring to George Will’s column as being written by “Will.” Photographers and illustrators also get two names in Newsweek credits; only lowly cartoonists are limited to one name by Newsweek’s longstanding policy.

I suppose it is the nature of the profession for cartoonists. One name will have to suffice. We get no respect. (But what we do is cool.)

Daryl Cagle is a political cartoonist and blogger for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to more than 800 newspapers, including the paper you are reading. His books “The BIG Book of Bush Cartoons” and “The Best Political Cartoons of the Year, 2006 Edition,” are available in bookstores now. Copyright 2006 Cagle Cartoons Inc. Please contact Sales at [email protected] for reproduction rights.

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Stealing Cartoons and Pension Plans No Problem

Stealing Cartoons and Pension Plans? No Problem.

One of the perks of being a syndicated editorial cartoonist is that I get to sign my name, in big clear lettering, in the corner of every cartoon. Sometimes I draw cartoons that make so many people angry that I might have been better off leaving my name out, but usually it is fun to have my name there. Often my clients will alter my artwork without my permission and remove my signature, as Newsweek magazine did last week.

I had a long career as a cartoon illustrator before turning to newspaper cartooning. When I drew cartoons for advertising, the clients almost always insisted on taking my signature out of the artwork; they knew what they wanted to advertise, and it wasn’t me. I wasn’t happy about it, but the demand was so common that I had to agree. I had to make a living.

Even with the typical, harsh contracts, my clients would usually only be concerned about their one job. They would give my art back to me when the job was done, leaving me as the owner of the copyright to my own art – which is important to illustrators. Having “second rights” to sell through internet databases and “stock houses” is a second income for underpaid artists and, like an annuity, the value of an artist’s artwork increases over time as an artist collects a larger and larger number of works that he can resell through his career. Artists, cartoonists and illustrators may not have health insurance but we have the “pension plan” of our own lifetime of reproductions rights to resell – that is, until now.

Congress is now poised to wreck the “pension plans” of America’s artists in a scheme bigger than Enron. The “Orphan Works Act of 2006” (H.R. 5439) is now before the House Judiciary Committee; the bill would strip artists of the practical ability to defend the copyrights to their lifetime of works. The bill was proposed to deal with the problem of “orphan works” which are copyrighted works whose authors are difficult to identify or locate. Companies have complained that it is too hard for them to find the creators of art that they want to reproduce, so they want to change the law to allow them to reproduce the artwork without permission. The bill would legalize the commercial or non-commercial infringement of any work of art – past, present and future – regardless of age, country of origin, published or unpublished, whenever the rights holder cannot be identified or located.

The bill changes the law to allow any company to reprint whatever art they want – all that is necessary is that the company itself determines that it has done a “reasonably diligent search” for the artist. Beyond that, the bill removes any significant penalties for copyright infringement. Of course, if a company wants to steal artwork, it is in their interest that their “reasonably diligent search” should fail to find the artist. The bill is a broad-based license to infringe artists’ copyrights – or, rather, to steal their “pensions.”

Current law already allows non-profit organizations, such as libraries and museums, great latitude in the usage of “orphaned works.” If a for-profit company is just dying to use an “orphaned work” I’d like to see them hire an artist to make something new – of course, that would be more expensive than just taking the “orphaned” artwork and paying nothing.

Most of my life’s work, and most of the life’s work of most illustrators, will become “orphaned” and worthless under this bill. The Illustrator’s Partnership, a trade group representing artists, has listed changes the bill needs to protect artists. These are:

1.) Precisely define an orphan work as a copyright no longer managed by a rightsholder;

2.) Precisely define the steps a user must take before infringing the work;

3.) Eliminate the unrestricted use of a copyrighted work in a “transformative” work;

4.) Restrict the use of orphan works to not-for-profit uses;

5.) Restore full remedies for infringement as the only means rightsholders have for protecting their intellectual property.

For more information on the “Orphan Works Act of 2006” (H.R. 5439), visit www.illustratorspartnership.org.

Daryl Cagle is a political cartoonist and blogger for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to more than 800 newspapers, including the paper you are reading. His books “The BIG Book of Bush Cartoons” and “The Best Political Cartoons of the Year, 2005 Edition,” are available in bookstores now.

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Cartoons As A Measure Of Freedom

Cartoons as a Measure of Freedom

We all know that cartoonists can get into big trouble for drawing the Prophet Muhammad, but cartoonists around the world regularly get in big trouble for drawing all kinds of things. One cartoonist in Iran is in prison for drawing a cockroach.

Mana Neyestani drew a child talking to a cockroach; in the cartoon, a boy says the word “cockroach” in different ways, and the cockroach replies, “What?” in the Azeri language of Northern Iran. Mana has a lot of Azeri friends and colleagues, a minority group that constitutes about 25 percent of Iran’s population and which is often the butt of local ethnic jokes.

It would seem that the Azeris have thin skins; when they saw Mana’s cartoon, they rioted. Thousands of Azeris filled the streets to protest the cartoon; they set fire to a newspaper office then pelted government buildings and police with stones, injuring several policemen. Dozens of rioters were arrested. Mana and his editor were abruptly fired from their jobs at “Iran Friday,” the weekend edition of one of Iran’s largest newspapers, which ran a front-page apology for three days following the riots.

Iranian officials blamed America and Israel for the riots fueled by the cartoon, but threw Mana and his editor into Tehran’s notorious Evin Prison where they face trial on charges of “insulting the Azeri minority.” Mana’s cockroach cartoon was published on May 12; the newspaper was closed down on May 23 and is awaiting a court decision on whether it may resume operations.

Tehran’s chief prosecutor, Saeed Mortazavi, is pressing the case against Mana and his editor. Mortazavi is best known for closing about 80 pro-reform newspapers in Iran and is rumored to be in line to become Iran’s next Justice Minister. He is also wanted in Canada in connection with the murder of a Canadian photo-journalist. Mortazavi ordered photographer Zahra Kazemi’s arrest and imprisonment on charges of “photographing a prison;” she died after being beaten and tortured. The Canadian Foreign Affairs Minister also accuses Mortazavi of falsifying documents to cover up his involvement in the case.

The Canadian Press quotes Prime Minister Steven Harper, “We’re appealing to the international community to use all manner of law available to detain this individual (Mortazavi), and have him face justice. I don’t know whether we’ll see a willingness or an ability to do that, but we want to make it absolutely clear that the government of Canada has not dropped this matter.” According the same Canadian Press report, Canada condemned Mortazavi’s appearance at a United Nations human rights conference this week and narrowly missed an opportunity to extradite him when he skipped a scheduled stop in Germany on his trip back to Iran.

My friend, Nik Kowsar, alerted me to Mana’s story. Nik used to be Iran’s top cartoonist; he escaped to Canada after receiving death threats. Back in Iran, Nik was recently tried and sentenced in absentia to four months in prison for insulting government officials and clerics. Nik tells me that Mana’s brother, Touka, who was another of Iran’s top cartoonists, has given up his profession out of fear.

I run a popular political cartoon web site on MSNBC.com (at www.cagle.com) where I feature Nik’s cartoons, and I used to run Touka’s work. The government of Iran recently blocked access to my site and I’ve been getting e-mails from Iranian readers, wondering where the site went and how to find it again.

Cartoons are more powerful than words. A cartoon on the editorial page screams louder than the words that surround it. The response to the Danish Muhammad cartoons shocked the West, but came as little surprise to Third World cartoonists who are used to seeing nutty reactions to their cartoons. Cartooning is a dangerous profession in much of the world where the accepted response to an insult is vengeance. The fact that a murderer is prosecuting a cartoonist should be seen as a measure of Iran’s dysfunctional society.

Most people in the West came away from the Danish Muhammad cartoon imbroglio with the idea that we need to be more tolerant of other religious views, and that drawings of Muhammad should be forbidden out of respect for the sensitivities of Muslims. Nothing could be more wrong as we see crowds riot in response to a drawing of a cockroach. The lesson to be learned from the Muhammad cartoons, from Mana, from Nik and from many other cartoonists who suffer from unreasonable Third World reactions to their cartoons, is that cartoonists are on the front lines in exposing the repression, intolerance and underlying chaos in totalitarian societies.

Daryl Cagle is a political cartoonist and blogger for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to more than 800 newspapers, including the paper you are reading. His books “The BIG Book of Bush Cartoons” and “The Best Political Cartoons of the Year, 2006 Edition,” are available in bookstores now.

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The Hannity and Colmesification Of Cartoonists

The Hannity and Colmesification of Cartoonists

When I watch Fox News I see that every opinion, and every person who has an opinion, is classified as either a liberal or a conservative. It is a simple way to view the world as good vs. bad. Pick your side and the other side is bad; we’re the good guys. Each side comes with a complete set of views on every topic. I can order my opinions from liberal list A or conservative list B, but I can’t order a la carte, because that would be too complicated for TV – and, sadly, it would also be too complicated for newspapers.

I’m a political cartoonist. In the black-and-white world of editorial page editors, I’m classified by some editors as a conservative cartoonist but most tag me as a liberal cartoonist. I can’t have a variety of views; that would be too complicated for editors. I’m classified for a complete set of worldviews based on a few cartoons an editor happens to read first. Newspaper editorial pages have been “Hannity and Colmesified.”

Unlike TV pundits, most editorial cartoonists don’t conform closely to list A and list B. Liberal readers bash me for being conservative when I draw cartoons supportive of the troops in Iraq, while editors call me liberal when I bash President Bush for busting the budget. My cartoons are syndicated to close to 900 newspapers, so if editors assigned the cartoonist labels randomly according to the last cartoons the editors saw, it wouldn’t make much difference (I took statistics in high school). Unfortunately, it is not a random process.

I run a syndicate that distributes the work of about 50 editorial cartoonists to newspapers across the country. There are about 1,500 daily newspapers and 5,000 non-daily or weekly newspapers. The largest, most visible, urban papers tend to be liberal leaning (a fact that conservatives complain about loudly) but the vast majority of newspapers are small suburban or rural, conservative papers. The conservative editors from these papers complain to us all the time that they want more conservative cartoonists (not conservative cartoons, they want conservative cartoonists). Most editors quickly classify cartoonists as liberal and undesirable after glancing at a few cartoons, and the editors don’t bother even looking at further cartoons from liberal cartoonists.

We thought we would try a little experiment. We started labeling our cartoons “liberal” or “conservative.” The first thing we noticed was that 80% of the cartoons could not be labeled, such as cartoons about Katie Couric, Barry Bonds, March Madness and the death of Serbian strongman Slobodan Milosevic. There was no discerning liberal from conservative cartoons when Anna Nicole Smith went to the Supreme Court, when high oil company profits were disclosed, when Muslims around the world were rioting about Danish Muhammad cartoons, when Hamas won the Palestinian election, when North Korea and Iran bluster about nuclear weapons, when a new study tells Americans that they are too fat and when we all suffer preparing our income taxes. The recent immigration debate defies classification as President Bush and Senate Republicans support legalizing the illegal/undocumented people who are already here. When Cynthia McKinney slugged a policeman all of the cartoonists pounced on her equally. The cartoonists are also in lock-step when they ridicule Saddam’s courtroom antics. Jack Abramoff and Duke Cunningham had no conservative defenders. What is most noteworthy about our survey is that cartoonists agree about most issues in the news.

About 8 out of 100 political cartoons are conservative and 12 out of 100 can be classified as liberal.

We thought that our bright red and blue labels on the cartoons would force editors to recognize that our cartoons are not overwhelmingly liberal, but they just can’t believe their lying eyes. Although editors don’t argue with the labels on each cartoon (they like the labels), they continue to speak in generalities about the liberal cartoonists rather than liberal cartoons – “Hannity and Colmesification,” where the pundit must be labeled without much regard for what he has to say.

Conservatives prefer cartoons that reinforce their preconceived worldview, and cartoons that deviate are annoying and are noticed; conservative cartoons are reassuring and less noticeable. Cartoons that bash President Bush are annoying to conservative editors; the most common complaints we get are that too many cartoons criticize the president – even when those cartoons are conservative, such as bashing the president for overspending, or bipartisan, bashing the president for FEMA’s poor response to Hurricane Katrina. The other big complaint is that there are too many cartoons about Iraq – in fact there are fewer cartoons about Iraq now that the story is old. I had an interesting call from a New York Times reporter recently who wanted me to confirm that there are more cartoons about Iraq now as criticism of the president grows. Of course, the Times has no cartoonist and runs a pitiful weekly editorial cartoon round-up that they call “Laugh Lines,” so it is no surprise that the Times would be oblivious to what goes on with cartoons in other papers.

It is our role as cartoonists to bash the people in power; we may be perceived as liberal just because the president and Congress are Republican now. During the orgy of Clinton-Lewinsky cartoons we could have been called conservatives – but we weren’t… that was before editors were Hannity and Colmesified.

Daryl Cagle is the political cartoonist for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to over eight hundred newspapers, including the paper you are reading. His book, “The Best Political Cartoons of the Year, 2005 Edition,” is available in bookstores now

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Cartoonist Comments on those Muhammad Cartoons

Since the worldwide furor began over the Danish caricatures of Muhammad, the talk among political cartoonists has been about new and unwelcome attention that the fuss has brought to their profession. Editors now view editorial cartoonists as potential problems and gossip is circulating among American cartoonists about their cartoons that are being killed by timid editors and publishers who would have printed the same cartoons a couple of months ago.

I asked a number of the world’s top, syndicated political cartoonists what they think about the ‘toon turmoil and how they see it affecting political cartoonists.

Bob Englehart, The Hartford Courant, Connecticut:

“European newspaper cartoonists have always enjoyed more freedom of expression than we cartoonists in America. All you have to do is check them out on the Internet, and that’s the real chill, the fatal chill. The newspaper business in America is caught in a downward spiral of declining circulation. The cartoon controversy shows why. Most all American papers declined to run the Danish cartoons, thus again proving that newspapers are becoming irrelevant to the news/information process. You, the curious informed public, need to have a computer and Internet service to learn what all the fuss is about. … Editors have decided for you that you can’t handle it. … Young people see right through this. They’ll look at the cartoons on the Internet (as I had to do) and make up their own minds, without the help of newspapers.”

Sandy Huffaker, Nationally Syndicated:

”When a chain buys a newspaper, that paper loses courage. The money guys take over for the journalists, leading to the firing of reporters, investigative reporters and cartoonists – those people who might upset advertisers. It seems like one letter-to-the-editor can cow an editor already afraid for his job. No better example of this is the Muhammad cartoons. Only a handful of our papers had the guts to run them, so no one had any idea how offensive they were or weren’t (they were quite tame). I never thought I’d see the day that France, who had a number of papers run the cartoons, had more courage than we did. It is a sad day for democracy.”

Mike Lester, The Rome News-Tribune, Georgia:

”Methinks the temptation for timidity in the opinions of editors and cartoonists has never seen greater justification. For cartoonists, the previous desire to appear in major papers and newsstand glossies seems to have been replaced with the desire to maintain their current height. I’m not sure who the last brave editor will be, but he/she’s out there. I once drew a cartoon of Jesus turning regular into decaf and was deluged with mail from Christians requesting t-shirt reprints. It would appear that, even though the West has been watching ‘Skating with Celebrities’ and smoking Sudafed we’ve somehow developed a sense of irony leaving the Dark Aged Islamo-fascists still working on indoor plumbing and a sense of humor.”

Rainer Hachfeld, Neues Deutschland, Germany:

“Editors are and were always timid, particularly in the USA. Nothing will change in the behavior of editors. On the other hand, I hate the ridiculous self-pity of cartoonists which is shown in many cartoons about the so-called Muhammad cartoon controversy.”

Monte Wolverton, Nationally Syndicated:

”It’s understandable that editors wish to avoid offending readers and advertisers. At a time when economic safety nets are unraveling, what editor — or cartoonist in their right mind — wants to endanger their career, mortgage, retirement, savings and health insurance, much less provoke riots and evoke death-fatwas? The recent unrest will only reinforce that cautious mindset. But public discourse is not for the cautious, faint-hearted or easily offended. It is best served when issues are confronted boldly and head-on. Cartoonists facilitate that process by offering provocative metaphors to prime the pump of productive argument. Reasonable people understand how this works, but extremists and religious fundamentalists don’t.”

Yaakov Kirschen, The Jerusalem Post, Israel:

“Timid editors do indeed avoid ‘hard-hitting’ cartoons. Timid editors are also partially responsible for falling newspaper sales, because when newspapers choose to be ‘safe’ rather than exciting, provocative and thought-provoking they lose their appeal. And nothing is more exciting, provocative, and thought-provoking than a good political cartoon.”

Pat Bagley, The Salt Lake Tribune, Utah:

“The Muhammad brouhaha has probably strengthened my hand when it comes to arguing for printing a cartoon that the editors might find a little too edgy, especially those dealing with religion. The episode has opened the door on why religion is somehow exempt from criticism. Wasn’t that the whole point of The Enlightenment; that folks could speak back to religious authority?”

Mike Lane, Baltimore, Nationally Syndicated:

“Newspaper people I’ve known, editors included, were generally divided unevenly into two groups: pro and anti-cartoon. So why should we expect editors to even consider (printing) foreign cartoons of an inflammatory nature when many could not care less about comparatively benign, domestic cartoons, is a mystery to me. And if the Muslims are going to get worked up over cartoons of a guy who’s been dead for 1500 years when we’ve been drawing images of Jesus who preceded Muhammad by 600 or so years, I say, OK, it’s your way, not mine. So let’s have a separation of church/temple/mosque and the Fourth Estate. If we’re going to get exercised about what pictures our free press doesn’t print, I say it be over the photos of our dead and maimed young people returning from Iraq.”

Petar Pismetrovic, Kleine Zeitung, Austria:

“I have no idea why anyone needed such cartoons. I think the goal of cartoons is not to insult but to criticize, ape or comment on politics, society, etc. As if there weren’t enough sinners walking the earth (politicians, military leaders, etc.) that saints and religious idols needed to be attacked in cartoons. My only wish is that cartoons stop being misused by extremist organizations and elements, and that they are appreciated for what they should be: critical comment and a good joke.”

Olle Johansson, Norra Vasterbotten, Sweden:

“The upside to the incident with the Danish Muhammad cartoons is that I believe many editors will open their eyes to the immense power that is within the political cartoon. The downside is that at the same time many of them may unfortunately choose a more careful approach especially when it comes to international cartoons concerning people and/or cultures they don’t fully understand. But I choose to believe that this will strengthen the cartoon as journalistic instrument. And it has certainly brought back the nerve to this form of art.”

Riber Hansson, Svenska Dagbladet, Sweden:

”In Swedish children’s books you can find ‘the world’s strongest girl,’ Pippi Longstocking. She used to say: ‘If you are very, very strong you have to be very, very kind.’ A political cartoonist, supported by (a free press), will be very, very strong. You can immediately see the dilemma for an artist trying to follow Pippi’s advice; the political satirist’s basic tool is not exactly kindness … My personal policy as an editorial cartoonist is to (strike only at) power. Belief belongs to the private sphere, and I try to avoid religious subjects for that reason. I can’t guess what my reaction would have been if my courage as a cartoonist had been challenged, as it was with the Danish cartoonists by editors asking (them to) dare draw the Prophet Mohammad. Self-censorship is an emotive and provoking term for a political cartoonist, maybe for all artists. I hope I would have had the courage to say “no.” The political cartoon needs to be free, without any editorial finger over the cartoonists shoulder, pointing out the subject (matter).”

Patrick Chappatte, The International Herald-Tribune, Geneva:

“I’m bothered by the fact that in the Danish approach, Muhammad was not merely a cartoon character, but he was the very purpose of the cartoons. The idea was to represent him because he’s a forbidden figure. On the other side, those images have been misused by extremists to stir up anger and misunderstanding (by) the same extremists who take delight in anti-Semitic caricatures. The aim of political cartooning is not – should not be – in itself to hurt; it is to make a point. It can be a political, or a moral point. It can be funny or serious. In the process, it can hurt your feelings, your political beliefs or your religious principles – but this is a collateral damage. Muhammad is not a subject. Violent radical Islamists are a subject. Humiliation of the Palestinian people is a subject”.

Stephane Peray, The Nation, Thailand:

”I see several reactions in the newspapers that I regularly work with. … Emotions are running high and you have the feeling that the readers are not even taking time to understand the cartoon that they have already burst into some kind of irrational anger ( or is it fear? ) … So in this kind of atmosphere, I can understand editors not taking risks … the biggest hypocrisy is to keep defending ‘Freedom of Press’ like it was the latest highest value the West has invented when in reality – the Power of Money is higher than the ‘Freedom of the Press,’ so how can we really defend it as ‘value?’”

Vince O’Farrell, The Illawarra Mercury, Australia:

“… to deliberately antagonize the Muslim community especially in the context of broader world events was an irresponsible exercise in abuse of freedom of the press. The response from the rampaging fanatical zealots was just as stupid and pathetic. Who’d want to be the head of the Islamic Public Relations Bureau? Now there’s a 24/7 job. In almost 30 years of newspaper cartooning I could probably count the number of times I’ve had a definite ‘NO’ from an editor to a cartoon on one hand. … As newspaper publishing the world over is increasingly driven by the bottom line, cartoonists in general will have to expect that those ‘hard-hitting’ cartoons, especially the ones that go after the corporate juggernauts etc. will more and more be assigned to the waste paper or ‘too hard basket.’”

Note to editors:

This column is a great opportunity to show a round-up of cartoons about the Muhammad cartoons, with comments by each of the cartoonists. Cartoons by all of the cartoonists in this column are available on our download site at caglecartoons.com or you can contact cartoonist Brian Fairrington at [email protected] or (800) 983 7054 and Brian will help you find appropriate cartoons and e-mail the cartoons to you.

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Two Kinds of Offensive Cartoonists

Crowds fill the streets in the Middle East, demanding the execution of the Danish cartoonists who drew caricatures of the Prophet Muhammad. Bounties for the murder of the cartoonists have been offered by Muslim extremists and have been trumpeted in the press as the poor cartoonists live in hiding, under 24-hour police protection.

Why did the Danish cartoonists draw the cartoons? To test the limits of press freedom? To show disrespect for Islam? Because a Danish author couldn’t find an illustrator for his book about Muhammad? No, the Danish cartoonists drew “caricatures” of Muhammad because a Danish newspaper, the Jyllands-Posten, hired them and paid them $73 each, along with the promise that the cartoonists would get their names and photos in the local newspaper.

The cartoonists knew they were being hired to draw provocative cartoons accompanying an article about the limits on press freedom, but they had no idea that they would be the tiny spark that lit a huge bomb in the Muslim world. (If they had known, they certainly wouldn’t have done the drawings in exchange for getting their photos in the newspaper.)

Some of the cartoonists even made fun of the assignment they were given; one of the offending cartoons shows a man looking at a police line-up who asks, “How can I identify Muhammad if I don’t know what he looks like?” Another offending cartoon shows a turban-wearing cartoonist holding his drawing of a stick-figure Muhammad while an orange, labeled “PR Stunt,” drops into his turban. (Dropping an orange refers to a Danish idiom and expresses the cartoonist’s disdain for his assignment.)

As condemnation rains down on the Danish cartoonists an important distinction is lost –the difference between cartoonists who are illustrators and political cartoonists.

I’m a political cartoonist; I draw cartoons that convey my opinions. Anyone who sees my cartoons will know what I think on a wide range of issues. Political cartoonists are journalists, just like columnists we decide for ourselves what we want to say, and we are responsible for what we say. Editors don’t tell political cartoonists what to say (although editors sometimes stop us from saying things that are offensive).

The Danish cartoonists are illustrators; they are given assignments by clients who pay them for their work. Illustrators draw what they are hired to draw. No one can look at the work of an illustrator and discern what the illustrator’s opinions are. Illustrators usually draw pictures that go with an author’s words; they might be creative and inject their own ideas, but still they are working at the direction of a client. The Muhammad cartoons are not political cartoons, they are illustrations drawn to accompany a newspaper article about press limits, an issue that arose because an author couldn’t find an illustrator for his book about Muhammad.

The Danish Muhammad cartoons are broadly – and wrongly – described as political cartoons by pundits and politicians who don’t understand the difference between one kind of cartoonist and another. The “political cartoon” label unfairly condemns the Danish cartoonists, none of whom would have chosen, on their own, to express any opinion about Islam, press freedom or the Prophet Muhammad.

The perception of the Danish Muhammad cartoons as “political cartoons” is chilling to real political cartoonists who are suddenly perceived as ticking time-bombs that can explode at any time. Editors, who were already uncomfortable reining-in their unwieldy, bomb-throwing cartoonists, are now more timid than ever.

Everyone asks me why I don’t draw Muhammad in a political cartoon – am I afraid to give offense or am I afraid for my own safety? I’ll draw whatever I want; I’ll be offensive if I want to be, but I want my cartoons to effectively convey my opinion, and my opinion about the Danish Muhammad cartoons issue is that the violent response to the cartoons is wrong and is far out of proportion to the provocation. If I were to draw a cartoon depicting Muhammad now, the only message the cartoon would convey is: “Hey, look at me, I can offend you too.” That is not what I choose to say.

Daryl Cagle is a political cartoonist and blogger for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to more than 800 newspapers, including the paper you are reading. His books “The BIG Book of Bush Cartoons” and “The Best Political Cartoons of the Year, 2005 Edition,” are available in bookstores now.

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Reprinting Those Horrible Offensive Muhammad Cartoons

Reprinting Those Horrible, Offensive Muhammad Cartoons

There are riots around the Muslim world, with embassies burning; and 12 poor Danish cartoonists who now fear for their lives have gone into hiding, under 24-hour police protection, as millions of angry Muslims call for their execution. Anyone who hasn’t seen the cartoons of the Prophet Muhammad must think they are jarringly offensive –and since very few newspapers in America have chosen to print the cartoons, what else is there to think?

To Muslims, depictions of people – and especially depictions of Muhammad – are forbidden, so it doesn’t matter if the cartoons make a statement or not; the very idea that cartoons of Muhammad exist is offensive. To a Western eye, there is little that is offensive in the cartoons. News reports refer to the “Danish cartoons including one showing a bomb in Muhammad’s turban,” and even that is an exaggeration, describing the 12 cartoons by mentioning only the one that Westerners could imagine causing some offense. Truly offensive cartoons, which never appeared in the Danish newspaper, have been circulated to Muslim crowds to whip up their angry religious fervor.

The overblown reaction in Muslim countries to the blasphemy of the cartoons is what the story has become, as streets filled with violent protestors demand that the infidels in other countries respect a Muslim taboo. Clearly there are many in the Muslim world that are eager to stoke the fires of a clash of civilizations; they think they have found their popular issue with the cartoons.

Politically correct commentators in the West devote equal time to condemning Denmark’s Jylland-Posten newspaper as they do for the crowds that are burning embassies and inciting even more violence. Almost every newspaper in America has refused to reprint the cartoons, leaving readers to believe that if they saw the cartoons, they would be offended too. In fact, if American readers saw the cartoons we would say, “This? This is what makes them so angry? That’s crazy!”

New and truly offensive Muhammad images are popping up all over the Web. The images show a Muhammad toy on a Lego box, having sex with an underage Lego Aysha girl, Muhammad on products such as urinals and toilet paper, and lots of usage of the original Danish cartoons, revamped to make them more offensive with references to sex, pork, drugs and Danish products that are boycotted in Arab countries.

Not to be outdone, a Belgian-Dutch Islamic political organization, the Arab European League (AEL) has started posting cartoons that they think will be as offensive as possible to the Danish. They describe their effort this way:

“After the lectures that Arabs and Muslims received from Europeans on Freedom of Speech and on Tolerance. And after … many European newspapers republished the Danish cartoons on the Prophet Mohammed. AEL decided to enter the cartoon business and to use our right to artistic expression. Just like the newspapers in Europe claim that they only want to defend the freedom of speech and do not desire to stigmatize Muslims, we also do stress that our cartoons are not meant as an offence to anybody and ought not to be taken as a statement against any group, community or historical fact. If it is the time to break Taboos and cross all the red lines, we certainly do not want to stay behind.”

One cartoon on the AEL site has gotten the most attention; it features Holocaust victim Anne Frank in bed with Adolf Hitler, apparently after having sex, Hitler smokes a cigarette and says, “Write this one in your diary, Anne.” Aside from that cartoon, it appears that the cartoons that the AEL thinks will be most offensive to Danes are anti-Semitic and Holocaust denial cartoons that are not different from what passes as everyday fare in Arab newspapers. Of course, for the AEL to make their point effectively, we’ll need to see the Danes respond by marching in the streets, burning embassies, and calling for the executions of AEL cartoonists.

The proper response to an insult in the press is to respond with more speech, rather than violence in the streets, and the escalating war of offensive cartoons is simply speech. But as the reactions become uglier, readers may believe that the truly offensive images they see on the Web are the kind of cartoons that set off this clash of civilizations, rather than the dull, banal Danish cartoons that they haven’t seen. It is important that readers understand what a small spark set off this religious bomb. American editors should rethink their decision not to reprint the original Danish cartoons.

Daryl Cagle is the political cartoonist for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to over eight hundred newspapers, including the paper you are reading. His book, “The Best Political Cartoons of the Year, 2006 Edition” and “The Big Book of Bush Cartoons” is available in bookstores and Amazon.com now.

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Cartoon Jihads

Nothing generates anger in the Muslim world like a cartoon. The most recent cartoon-Jihad comes from a Danish newspaper that printed cartoons depicting the prophet Muhammad. The Jyllands Posten, Denmark’s biggest newspaper, has been bombarded by street protests, international diplomatic incidents and death threats against cartoonists who have gone into hiding, fearing for their lives.

I’m fond of the Jyllands Posten newspaper because they run my cartoons. Reporter Anders Raahauge wrote the report below to cartoonist Doug Marlette who alerted me to the ongoing events:

“To test the limits of self-censorship, we asked all Danish cartoonists to draw Muhammad. We were provoked by the fact that a Danish author of children’s books couldn’t find any illustrators for his planned, decidedly non-polemic book on the prophet. Twelve cartoonists dared.

“There has been a great uproar. 5000 Danish Muslims protested in the streets of Copenhagen, 12 Muslim ambassadors demanded that our Prime Minister should take immediate and harsh action against (us) which he firmly declined (to do). The ambassadors then complained to the “Organization of the Islamic Conference”; there has been a general strike in Kashmir, and a political party in Pakistan, with Danish affiliations, has put a bounty on the heads of the 12 Danish cartoonists: 50,000 Danish Kroners for each execution.”

Danes treasure their press freedoms. The newspaper ran the Muhammad drawings as part of an article about self-censorship in the press, noting that even with a free press defined by law, there are other constraints regarding what can or can’t be published. The Danish prime minister refused to meet with ambassadors from 11 Islamic countries, led by Egypt, who objected to Denmark’s “smear campaign” and demanded punitive action against the newspaper. The ambassadors then announced a general boycott against Denmark. The United Nations weighed in, conveying sympathies to the offended Islamic countries. Last week, in an apparent concession to the angry Muslims, Danish Prime Minister Anders Fogh Rasmussen urged Danes to exercise their rights to free speech without inciting hatred against Muslims. The Danish government had the prime minister’s words translated into Arabic and distributed to Middle Eastern countries in the hope of easing the diplomatic crisis. Jyllands Posten’s editor-in-chief is quoted as saying, “the next step will be giving orders to suppress the newspaper.”

I found the offending cartoons on the web; they are disappointingly dull and it is hard to see how they could make anyone angry. Muslims consider any graphic depiction of Muhammad to be taboo. For the Muslim countries, it is a matter of imposing their sensibilities upon the infidels in the West. For the Danish “infidels” at Jyllands Posten, it is a matter of press freedom and an unwillingness to accept restrictions on an absolute and treasured freedom, which includes the right to offend anyone they choose to offend. In America we take our freedom to offend seriously; we would never threaten the lives of artists who paint the Virgin Mary with animal dung, or put a crucifix into a jar of urine -we limit the argument to whether our National Endowment for the Arts will subsidize these artists.

Depictions of Muhammad are not the only cartoons that inspire Islamic rage. Montreal Gazette cartoonist Terry “Aislin” Mosher had a similar experience. In response to a deadly terrorist attack against foreign tourists in Luxor, Egypt, Mosher drew a dog wearing Arab headgear; the dog was labeled “Islamic Extremism” and the caption read, “With Apologies to Dogs Everywhere.” Mosher and his newspaper received a flood of Muslim threats and vitriol in a Jihad similar to the situation in Denmark.

A cartoonist whom I syndicate, Sandy Huffaker, drew a cartoon showing an Iraqi holding a book titled, “The Koran for Dummies,” and an American soldier asks, “Anything in there about GRATITUDE?” I was bombarded by many thousands of e-mails in a flame campaign instigated by the Council on American Islamic Relations (CAIR), which asked readers on their Web site to e-mail me. The e-mails were hysterical, filled with colorful threats and demands that I fire and punish Huffaker. I posted a big batch of the emails on my Web site and asked my own readers to respond to CAIR. (My Web site has a rather large audience, so I flamed CAIR back.) Being on the other end of a flame campaign may have been a new experience for CAIR, because their flame campaign against me stopped abruptly -or more likely, CAIR saw that the hysterical rantings of their supporters, displayed on my Web site, did not speak well for their cause.

Pulitzer Prize-winning cartoonist Doug Marlette of the Tallahassee Democrat, found himself blasted by a CAIR e-mail Jihad when he drew a cartoon with the caption, “What Would Muhammad Drive?” The drawing showed a man wearing Arab headdress and driving a Ryder truck (a reference to Oklahoma City bomber, Timothy McVeigh). In response to an inquiry from Jyllands Posten, Doug writes, “I was used to negative reactions from religious interest groups, but not the kind of sustained violent intensity of the Islamic threats. The nihilism and culture of death of a religion that sanctions suicide bombers, and issues fatwas on people who draw funny pictures, is certainly of a different order and fanatical magnitude than the protests of our home-grown religious true believers.”

Marlette continues, “As a child of the segregated South, I am quite familiar with the damage done to the “good religious people” of my region when the Ku Klux Klan acted in our name. The CAIR organization that led the assault (on me), describes itself as a civil rights advocacy group. Among those whose “civil rights” they advocated were the convicted bombers of the World Trade Center in 1993. They cannot be taken seriously. For many of those who protested my cartoon, recent émigrés, many highly educated, it was obvious that there was not that healthy tradition of free inquiry, humor and irreverence in their background that we have in the west. There was no Jefferson, Madison, Adams in their intellectual tradition. Those who have attacked my work, whether on the right, the left, Republican or Democrat, conservative or liberal, Protestant, Catholic, Jewish or Muslim, all seem to experience comic or satirical irreverence as hostility and hate. When all it is, really, is irreverence. Ink on paper is only a thought, an idea. Such people fear ideas. Those who mistake themselves for the God they claim to worship tend to mistake irreverence for blasphemy.”

Muslim countries expect the press in Denmark to suppress cartoons that would be offensive to them, but they don’t extend the same cartoon courtesy to others that they demand for themselves. Cartoons in the Arab press are typically so ugly and racist that American audiences have never seen anything like them. Middle Eastern cartoon venom is targeted toward Israel, often depicting Jews with hooked noses and orthodox garb, sometimes with fangs and bloody teeth, often in the roles of Nazis. The Jews are sometimes shown crucifying Arabs in a “Jews killed Jesus” scenario, or enacting their own concentration camp Holocausts on their neighbors, along with their henchmen, the Americans. The cartoons are designed to be as offensive to Jews as possible, and are seen as nothing out of the ordinary by Middle Eastern newspaper readers.

Unless we defend our funny little drawings with the same zeal that we see from the victims of our irreverence, we’ll continue to see our freedoms constricted by the loud voices of those we offend.

©2006 Daryl Cagle – Daryl Cagle is a political cartoonist and blogger for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to more than 800 newspapers, including the paper you are reading. His books “The BIG Book of Bush Cartoons” and “The Best Political Cartoons of the Year, 2006 Edition,” are available in bookstores now.

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Cartoonists and Cockroaches

A column in Sunday’s Los Angeles Times starts off like this:

“POPE JOHN XXIII, or ‘Good Pope John,’ remains one of the most beloved figures in recent Catholic history. Among treasured memories of this kindly, roly-poly pope, perhaps none looms larger than the evening of Oct. 11, 1962, when he told a vast crowd on a moonlit night in St. Peter’s Square, ‘Go home tonight and give your children a kiss, and tell them that this kiss comes from the pope.’ When German Cardinal Joseph Ratzinger, the Vatican’s stern doctrinal enforcer, was elected as Benedict XVI in April, an editorial cartoon in an Italian paper showed him looking at a similar crowd and saying, ‘Go home tonight and give your children a spanking, and tell them that this spanking comes from the pope.’

“In a nutshell, the cartoon captured many people’s expectations of Benedict XVI: a hard-line taskmaster who would bring liberals and dissenters in Roman Catholicism to heel.”

Speakers and columnists, like this one, often quote cartoons but seldom mention the name of the cartoonist. With this writer, one fourth of his column came from an uncredited cartoonist. (I think it is fitting that one fourth of my own column starts off with a quote from a writer whom I have chosen not to name.) Writers are almost always named when they are quoted, but cartoons seem to be mere anecdotes that deserve no attribution beyond, “I saw this cartoon …”

An unnamed op-ed page editor at the Los Angeles Times told me that he doesn’t like political cartoons because they tend to “overpower the words that surround them.” He went on to tell me that his two favorite cartoonists are Tom Toles and Ted Rall, two cartoonists with rudimentary drawing styles who put lots of words into their cartoons; this editor liked these cartoonists because they were “more like writers than artists.”

There seems to be a natural friction between the “picture people” and the “word people” who are troubled by those powerful pictures. A famously unnamed editor at The New York Times is quoted as saying, “We would never hire an editorial cartoonist at the Times, because we would never give so much power to one man.” Another unnamed New York Times editor is quoted as saying, “We don’t like editorial cartoons at the Times because you can’t edit a cartoon like you can edit words.”

Editors see cartoonists as “bomb throwers,” because cartoonists enjoy a different set of journalist ethics than writers. Cartoonists can put any words into the mouth of a public figure, whether those words were actual quotes or not. Cartoons make readers angry. A strong political cartoon generates much more mail from readers than the strongest words. Most editors are timid and want to avoid controversy; they choose to run syndicated cartoons that are unobjectionable gags about current topics. Cartoonists call this “Newsweekification” after the inoffensive, bland and opinionless – but funny – political cartoons that Newsweek magazine chooses to reprint each week, further trivializing political cartoons.

The power and effectiveness of political cartoons cause more and more newspapers to avoid cartoons. There are half as many editorial cartoonist jobs as there were 75 years ago. Of the biggest newspapers in America – The Wall Street Journal, USA Today, The New York Times, the New York Daily News, the Chicago Tribune – none have political cartoonists on staff.

The newspaper industry often complains about a dwindling and aging readership as younger readers prefer to get their news through other media. The old-line “word people” lament that youngsters nowadays get their news from Jon Stewart on “The Daily Show.” In fact, most young people get their news from political cartoons. Every state in the United States has middle and high school students interpret an editorial cartoon as part of state-mandated testing. Teachers who must “teach to the test” include political cartoons in their classes. Students learn their current events through political cartoons and, ironically, most of the students see newspaper political cartoons on the Internet rather than on paper (visit www.cagle.com). The “word people” who run newspapers have “Newspapers In Education” programs to try to develop a younger readership, but when a stack of newspapers is dropped on a teacher’s doorstep once a week, there is usually only one political cartoon on the editorial page – not very useful to a teacher who only needs the newspaper to teach about editorial cartoons.

Perhaps in the future we’ll see this turn around, and see more columns like this one, where cartoonists’ names are mentioned and writers’ names are not; when that happens, I expect traditional newspapers will have long gone extinct. Just as the cockroach will continue to roam the Earth long after mankind has disappeared, political cartoonists will still be crawling out from dark corners long after the “word people” have killed off newspapers.

Daryl Cagle is a political cartoonist and blogger for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to more than 800 newspapers, including the paper you are reading. His books “The BIG Book of Bush Cartoons” and “The Best Political Cartoons of the Year, 2005 Edition,” are available in bookstores now.

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Worldwide Cartoonists Take Pleasure In America’s Pain

Worldwide Cartoonists Take Pleasure in America’s Pain

The easiest way to see what world opinion looks like is to look through the mirror of political cartoons. The devastation of Hurricane Katrina has done nothing to elicit sympathy from the world according to cartoonists around the globe who are finding pleasure in America’s pain.

In Europe, anger at President Bush’s rejection of the Kyoto treaty to stop global warming is the focus of “I told you so” cartoons. The Europeans see global warming as the obvious cause of Hurricane Katrina and seize the opportunity to blame the president for causing the calamity.

German cartoonist Heiko Sakurai depicts President Bush swept up in a tornado along with a sign that reads, “Welcome to New Orleans.” The president says, “Global warming? What a ridiculous idea! But we got very serious information from our intelligence services that there might be a connection to Al Qaeda …”

Swiss cartoonist Patrick Chappatte of the Paris-based International Herald Tribune (owned by the New York Times) draws a scene of flooded New Orleans ruins, with a billboard that quotes the president, “’Climate change remains to be proven’ –George W. Bush.”

Cartoonist Olle Johansson from Sweden shows the president taking his “global warming dog” for a walk; the dog has escaped from his collar and turned into a raging storm outside the frame, as the president says, “The hurricanes just love to play with him.”

New Zealand Herald cartoonist Rod Emmerson shows President Bush addressing the nation, “The American people can rest assured that we plan to invade New Orleans as soon as possible.”

Bill Leak of The Australian newspaper in Sydney shows President Bush dressed as a cowboy, holding out a tin cup begging for help as Australian President John Howard looks the other way, telling an aide to tell Bush that he gave “at the office.”

Cartoonists in developing countries, the Middle East and Latin America display their disgust for America and President Bush at every opportunity. Americans are portrayed as greedy, obese, stupid and arrogant. Hamburgers are a worldwide symbol for America and we often see ugly depictions of hamburgers; it seems strange to us, but defiled burgers are instantly recognizable around the world as insults directed against America. In Middle Eastern countries where there is no Christian lore that would give rise to a devil character, Dracula is substituted for Satan, and President Bush or Uncle Sam are often depicted as vampires.

Another common symbol for America is the comic book superhero, sometimes Batman or Spiderman, but usually Superman is the worldwide substitute for Uncle Sam, and in most cartoons Superman suffers an indignity that brings joy to an America hating audience. In his most recent cartoon, Emad Hajjaj of the Al-Ghad newspaper in Amman, Jordan draws President Bush in his Superman suit, with Hurricane Katrina as his up-blown skirt, exposing his skinny, naked, black legs trudging through the mud, labeled, “Third World.”

Many of the world’s cartoonists work in countries that allow no press freedom, but the cartoonists describe themselves as being “free.” A Cuban cartoonist once told me, “I’m free to draw whatever I want … as long as it is about the United States.”

Bashing America is a daily job for the world’s cartoonists, and it will take a lot more than death, devastation and widespread human suffering to jar them from their routine.

Daryl Cagle is the political cartoonist for MSNBC.com. He is a past president of the National Cartoonists Society and his cartoons are syndicated to over eight hundred newspapers, including the paper you are reading. His book, “The Best Political Cartoons of the Year, 2005 Edition,” is available in bookstores now.