Editorial Cartoons on the Web Picturing Politics

Total Page:16

File Type:pdf, Size:1020Kb

Editorial Cartoons on the Web Picturing Politics internet resources Paul Cammarata Editorial cartoons on the Web Picturing politics ditorial or political cartoons are artistic Access: http://library.kent.ac.uk/cartoons Ecreations depicting political and so­ /collections/cartoonhub.php. cial commentary of the time. The study of • The Daily Cartoonist. The Daily editorial cartoons involves many academic Cartoonist, a news blog for professional car­ disciplines including journalism and mass toonists, was launched in 2005. “While it has communications, political science, history and primarily focused on newspaper cartooning art. Political campaigns and presidential elec­ (comic strips and editorial cartooning), its tions, including the current campaign, have coverage has grown to include webcomics, always provided rich material for editorial movies and animation, and magazine gag car­ cartoonists. Editorial cartoons have expanded toonists.” One of the key features on this site beyond the printed page of newspapers and is a lengthy list of editorial cartoon bloggers are now a visible presence on the Internet. on the right side of the home page. Access: The following is a selective list of Internet http://dailycartoonist.com/index.php. resources for students, scholars and the • Daryl Cagle’s Professional Car­ general public. toonist’s Index. Daryl Cagle, the MSNBC’s editorial cartoonist, is the host of this Web Starting points site, which is updated daily and contains an •CartoonHub: A National Hub for Brit­ extensive selection of national and interna­ ish Cartoons and Caricature. CartoonHub’s tional editorial cartoons. This site contains a Web site states, “The RSLP CartoonHub Proj­ blog by Cagle, special interests sections (such ect is creating a national hub for research as Campaign 2008 and Iraq), Teacher Guide, into British cartoons and caricature.” The and Search for a Cartoon. There are links CartoonHub is based in the British Cartoon to the Year in Review, which start with the Archive at the University of Kent­Canterbury. Best Editorial Cartoons of 2001. The Teacher Its partners are the British Library of Politi­ Guide has lesson plans from elementary cal and Economic Science, the John Rylands school through high school. This site orga­ University Library of Manchester, and the Na­ nizes America’s top columnists and political tional Library of Wales. The Web site touts that cartoonists by topic, but contains a database it is the “world’s largest electronic archive of searchable by date, keyword, topic, or artist. cartoons with a catalogued database of over Access: http://cagle.msnbc.com/. 90,000 images.” The site contains a separate •Editorial Cartoons (comics.com). links page that is an annotated listing of car­ Comics.com is a source of various comics on toon archives and collections, professional the Web. The Editorial tab takes you to a page organizations, and numerous Web resources. of recent cartoons and links to more than Paul Cammarata is assistant collection development librarian at the University of South Carolina, e-mail: [email protected] © 2008 Paul Cammarata C&RL News October 2008 536 45 political cartoonists, such as Daryl Cagle, major cartoonists, including newspaper comic Mike Luckovich, and Signe Wilkinson. Access: strips and panels, comic books, editorial car­ http://www.comics.com/editoons/. toons, animation, advertising, magazine and more. The site has News, History, and Awards Professional organizations as well as a Members directory with sample • The Association of American Editori­ cartoons and blog for each artist. The site has al Cartoonists (AAEC). This professional as­ a Chapter listing and Other Useful Web Sites, sociation concerns itself with “promoting the which includes Daryl Cagle’s Professional interests of staff, freelance and student edito­ Cartoonists Index, the Society of Illustra­ rial cartoonists in the United States.” The site tors, the American Association of Editorial uses a tab approach to information with sec­ Cartoonists, and more. Access: http://www. tions titled: Welcome, Cartoons, Cartoonists, reuben.org/ncs/news.asp. News and History, AAEC, and Members. Key Political Cartoon Society. This society features include searching the current year’s states, “Our aim is to promote the ‘politi­ editorial cartoons and being able to search the cal’ cartoon by way of amusing, informing past ten years. The site enables you to search and educating. Cartooning in Britain has an for an individual member cartoonist or to unrivalled heritage going back over many search by keyword for cartoons on a particu­ hundreds of years.” The site does not have lar subject. When searching for an individual many cartoons for viewing; however, it does cartoonist, you are directed to a biographi­ have links to Exhibitions and Events, Cartoon cal profile of the cartoonist that has links to History, and Cartoon Gallery. Cartoons can be contact information, recent cartoons, and a found under Exhibitions, while Cartoon His­ direct Web site link, if available. The News tory links to essays of historical signifi cance and History tab has a link to Cartoon His­ such as “Steve Bell in America.” Access: http:// tory Corner featuring obituary information of www.politicalcartoon.co.uk/index.html. cartoonists. Access: http://editorialcartoonists. com/. Libraries and special collections •The Cartoonists’ Club of Great Brit­ •Caroline and Erwin Swann Col­ ain. “The Cartoonists’ Club of Great Britain lection of Caricature and Cartoon. This has evolved since 1960 into one of the larg­ collection was created by Erwin Swann, a est cartoonists’ organizations in the world, New York advertising executive who started with a membership of over 200 full and part collecting original cartoon drawings of artistic time Cartoonists in the United Kingdom (and and humorous interest. He created the Swann further afield).” This professional organiza­ Foundation in 1968 to promote preservation, tion site lists Meetings and Events, Cartoon­ exhibition, scholarship, and publication of ing News, Articles, and Reviews. There is a caricature and cartoon. The collection is member’s portfolio section that is subdivided housed in the Library of Congress (LOC) and by topic with sections entitled: Political, contains “…2,085 drawings, prints, and paint­ Social, Editorial Comment, Editorial Illustra­ ings related to the art of caricature, cartoon, tion, Cartoonist’s blog, and Galleries. The site and illustration which spans the years 1780 also features a Public Question and Answer to 1977.” The Web site links to the online Forum, Live Chat Room and Useful Links. catalog (www.loc.gov/rr/print/catalog.html) Access: http://www.ccgb.org.uk/lobby/index. record for each image which is available in php?/pages/welcome.html. the LOC Prints and Photographs Division. • National Cartoonists Society (NCS). There is an online bibliography of related The National Cartoonists Society is the world’s collections at the LOC and related collections largest and most prestigious organization of and sources outside of the LOC with contact professional cartoonists. Established in 1946, information. Access: http://www.loc.gov/rr NCS membership boasts 500 of the world’s /print/coll/230_swan.html#Bibliography. October 2008 537 C&RL News •Cartoon Research Library. The Car­ Revolutionary War to the War of 1812 and to toon Research Library is part of the Ohio the presidential elections of 1860 and 1864 State University Libraries. Its “primary mission which brought Abraham Lincoln to the White is to develop a primary research collection House. To facilitate browsing, the exhibition documenting American printed cartoon art, is divided by time period and includes a to organize the materials, and to provide section on the history of caricature. As you access to these resources.” The collection in­ visit the online galleries, you will sample cludes editorial cartoons, comic strips, comic the works of notable artists and publishers books, graphic novels, sports cartoons, and who sought to portray and comment upon magazine cartoons. There is an Online Re­ the events forging America’s future.” This sources Guide that allows you to view Digital exhibit shows the rich history of political Albums, Digital Exhibits, Finding Aids, and cartoons at the time they were produced Other links. Drawn on Stone is of special and creates a visual historical perspective for interest with guides to exhibits, checklists, today’s reader. Access: http://www.indiana. and a bibliography. This section “…explores edu/~liblilly/cartoon/cartoons.html. American political cartooning during the tumultuous Jacksonian era. It features thirty rare satirical lithographs recently acquired by the Cartoon Research Library….and illustrates the surge in the creation and distribution of political cartoon broadsides made pos­ Online exhibits sible by the relative ease and speed of the •Cartoon America: A Library of Con­ new print­making process of lithography.” gress Exhibit. James Arthur Wood Jr. was an Access: http://cartoons.osu.edu/index.php. award winning political cartoonist. The Art •Dr. Seuss Went to War: A Catalog of Wood Collection of Cartoon and Caricature Political Cartoons. The Dr. Seuss Collec­ contains more than 36,000 original cartoon tion in the Mandeville Special Collections drawings with the online exhibit containing Library at the University of California­San 102 drawings selected as examples of the Diego, contains the original drawings and collection, which reflect Wood’s primary newspaper clippings of the more than 400 collecting interests including
Recommended publications
  • The Processing, Preservation, and Cataloging of Editorial Cartoons
    COMIC RELIEF: THE PROCESSING, PRESERVATION, AND CATALOGING OF EDITORIAL CARTOONS BY PAM HACKBART-DEAN ABSTRACT: The editorial cartoons of the Clifford "Baldy" Baldowski Collection con- sist of over 2,500 individual drawings spanning four decades. Because of the need to manage this special medium, the staff at the Richard B. Russell Library for Political Research and Studies initiated the Editorial Cartoon Description Project (ECDP) for the Baldy cartoons. The plan was to identify, preserve, and catalog at the item-level. Fields in the Minaret database that provide access for item level records are detailed. Also discussed is the background, the planning and implementation, and future devel- opments for this project. A common hazard for those involved in the world of politics is becoming a target of the scathing brush strokes of editorial cartoonists. Cartoonists' drawings address wide- ranging social and political issues, capturing in snapshot form important moments in history. While some editorial cartoonists poke fun at power, others use the power of the pen to portray more serious subject matters. In the 1970s, cartoonist Paul Conrad made fun of United States President Richard Nixon over Watergate, whereas in the 1940s, graphic commentator Herbert Block illustrated the evil of Nazism to encourage the United States to enter World War II. Florence Berryman, a former art critic for the Washington Evening Star, described political cartoons as the branch of art in which the transmission of ideas is paramount. She stressed that a political cartoon must make an immediate impact and that "a draw- ing may be beautifully executed, may have decorative qualities, admirable composi- tion and creative design, all of which will make it good art.
    [Show full text]
  • British Library Conference Centre
    The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at
    [Show full text]
  • Manga As a Teaching Tool 1
    Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry.
    [Show full text]
  • Elements of a Political Cartoon
    POLITICAL CARTOONS Cartoonists use 5 main elements to convey their point of view. ● symbolism – using an object to stand for an idea. ● captioning & labels – used for clarity and emphasis. ● analogy – a comparison between two unlike things that share some characteristics. ● irony – the difference between the way things are & the way things are expected to be. ● exaggeration – overstating or magnifying a problem or a physical feature or habit: big nose, bushy eyebrows, large ears, baldness, etc. Examples of Symbols Used in Political Cartoons ● peace – dove, olive branch, victory sign, scales of justice. ● United States – Uncle Sam, flag, stars and stripes, shield, lady liberty. ● Democrats – donkey. ● Republicans – elephant. ● death – vulture, skeleton w/ shroud, skull and crossbones, grim reaper. ● love – heart, Cupid, Venus ● money – dollar bill or dollar sign. Steps to analyzing a political cartoon: 1) Identify the characters, symbols, and objects in the cartoon. 2) Look for clues and details that would give further meaning. 3) Identify the main idea of the cartoon by reading any captions and by putting the message in your own words. 4) Identify any bias the cartoonist might have (what side of the issue is he/she on?). Questions to answer: 1) What is the event or issue that inspired the cartoon? 2) What background knowledge do you need to understand the message? 3) Are there any real people in the cartoon? 4) Did the artist use caricatures? (caricature: a picture, description, or imitation of a person or thing in which certain striking characteristics are exaggerated in order to create a desired effect) 5) Are there any symbols in the cartoon? What do they represent? 6) What is the cartoonist’s opinion about the topic portrayed? 7) Does the caption help you understand the message? How? 8) Do you agree or disagree with the cartoonist’s message? Why? .
    [Show full text]
  • Using and Analyzing Political Cartoons
    USING AND ANALYZING POLITICAL CARTOONS EDUCATION OUTREACH THE COLONIAL WILLIAMSBURG FOUNDATION This packet of materials was developed by William Fetsko, Colonial Williamsburg Productions, Colonial Williamsburg. © 2001 by the Colonial Williamsburg Foundation, Williamsburg, Virginia INTRODUCTION TO LESSONS Political cartoons, or satires, as they were referred to in the eighteenth century, have provided a visual means by which individuals could express their opinions. They have been used throughout history to engage viewers in a discussion about an event, issue, or individual. In addition, they have also become a valuable instructional resource. However, in order for cartoons to be used effectively in the classroom, students must understand how to interpret them. So often they are asked to view a cartoon and explain what is being depicted when they really don’t know how to proceed. With that in mind, the material that follows identifies the various elements cartoonists often incorporate into their work. Once these have been taught to the students, they will then be in a better position to interpret a cartoon. In addition, this package also contains a series of representative cartoons from the Colonial period. Descriptors for these are found in the Appendix. Finally, a number of suggestions are included for the various ways cartoons can be used for instructional purposes. When used properly, cartoons can help meet many needs, and the skill of interpretation is something that has life-long application. 2 © C 2001 olonial  POLITICAL CARTOONS AN INTRODUCTION Cartoons differ in purpose, whether they seek to amuse, as does comic art; make life more bearable, as does the social cartoon; or bring order through governmental action, as does the successful political cartoon.
    [Show full text]
  • Lbr-2016-17-021
    SMALL BUSINESS COMMISSION CITYAND COUNTYOF SAN FRANCISCO M ARK DWIGHT, PRESIDENT EDWIN M. LEE, M AYOR REGINA D ICK-E NDRIZZI, D IRECTOR Legacy Business Registry Staff Report HEARING DATE NOVEMBER 28, 2016 CARTOON ART MUSEUM OF CALIFORNIA Application No.: LBR-2016-17-021 Business Name: Cartoon Art Museum of California Business Address: 275 5th Street, Suite 303 District: District 6 Applicant: Summerlea Kashar, Executive Director Nomination Date: October 3, 2016 Nominated By: Mayor Edwin Lee Staff Contact: Richard Kurylo [email protected] BUSINESS DESCRIPTION The Cartoon Art Museum of California is a 501(c)(3) nonprofit museum located in the South of Market neighborhood that preserves and exhibits the history and continuation of cartoon art and related artworks. The museum was founded by a group of cartoon enthusiasts in 1984 who began organizing exhibitions of artwork from their own collections and often set up these exhibitions in other local museums or corporate spaces before establishing themselves as an organization. The museum showcases a variety of cartoon art forms including editorials, comic books, graphic novels, anime, and weekend cartoons. The Cartoon Art Museum is not only known for its exhibition content but also its dedication to preserving and documenting this unique and accessible art form. Their continued mission is to “ignite imaginations and foster the next generation of visual storytellers by celebrating the history of cartoon art, its role in society, and its universal appeal.” The museum is the longest running museum of original cartoon art in the United States that is committed to the preservation and exhibition of this art.
    [Show full text]
  • Bob Eckstein: Illustrator, Writer, Cartoonist
    Inspicio the last laugh Introduction to Bob Eckstein. 0:36 sec. Interview: Raymond Elman. Camera: Lee Skye. Videography: Wesley Verdier. Production: Rachel Chang. Bob Eckstein: Illustrator, Writer, Cartoonist By Elman + Skye + Verdier + R. Chang OB ECKSTEIN is an illustrator, cartoonist, writer and snowman expert. His cartoons have appeared in ma- B jor publications, including the New York Times, MAD magazine and The New Yorker. Eckstein wrote The History of the Snowman (Simon & Schuster, 2007) and Footnotes from the World’s Greatest Bookstores (Penguin Random House, 2016) which became a NY Times bestseller. His work has been exhib- ited in The Cartoon Art Museum of San Francisco, the Smith- sonian Institute, The Cartoon Museum of London, and in The Sordoni Art Gallery at Wilkes University. He has been nominated for Gag Cartoonist of the Year (twice) by the National Cartoon- ists Society. Eckstein has written columns, Op-Eds and features for: The New Yorker, the New York Times, New York Daily News, NY Newsday, Reader’s Digest, SPY, Playboy, Details, GQ, MAXIM, National Lampoon, Village Voice, and McSweeney’s. He is a Contributing Editor at Writer’s Digest. Eckstein has been speaking publicly against online shopping to raise awareness for independent bookstores. He taught at New York University, at Pratt Institute, and at the School of Visual Arts for a dozen years. His new book is Everyone’s A Critic: The Ultimate Cartoon Book by the World’s Greatest Cartoonists. The videos below are organized by topic and run between 30 seconds and 5 minutes. Click on any video. You must be con- nected to the Internet to view the videos.
    [Show full text]
  • Downloaded Here
    r mp JenniferCamper.com ni er Ca e Jen f [email protected] COMICS & ILLUSTRATION - Selected Publications Books Juicy Mother 2: How They Met, editor and contributor, Manic D Press, 2007 A comix anthology. (Lambda Literary Award Finalist) Juicy Mother 1: Celebration, editor and contributor, Soft Skull Press, 2005 A comix anthology. (Lambda Literary Award Finalist) subGURLZ, Cleis Press, 1999 The adventures of three twisted women living in abandoned subway tunnels. (Lambda Literary Award Finalist) Rude Girls and Dangerous Women, Laugh Lines Press, 1994 A collection of Camper cartoons. Anthologies Drawing Power, Theater of Terror, Comics 4 Choice, The Shirley Jackson Project, Butch Lesbian Coloring Books, Qu33r, No Straight Lines, The Letter Q, The Great Women Cartoonists, Three, Glamazonia, Dead High Yearbook Dyke Strippers, Boy Trouble, Gay Comix Anthology, A Century of Women Cartoonists, From Girls to Grrrlz, Women’s Glib, Women’s Glibber, Lesbian Culture, Silverleaf Anthology of Women’s Humor, Here Come the Brides, What Is this Thing Called Sex?, Ex-Lover Weird Shit, Sexual Harassment: Women Speak Out, etc. Websites & The Believer, PEN America, Buzzfeed, Ms. Magazine, The Advocate, Out, Bitch, Mizna, Barra (Lebanon), Women’s Review Magazines of Books, The World, Curve, Girlfriends, QW, On Our Backs, Outweek, Bad Attitude, Sorority, Girl Jock, Hysteria, etc. Comic Books Gay Comix, Wimmin’s Comix, World War 3, Young Lust, Real Girl, Strip AIDS USA, Cease Fire, Choices, Dykes Delight (UK), BubbleGun (Czech), etc. Newspapers The Village Voice, Funny Times, Sojourner, LGNY (NYC), Lesbian News (L.A.), Philadelphia Gay News,Bay Times (S.F.), Nightlines (Chicago), The Washington Blade (D.C.), Gay Community News (Boston), Southern Voice (Atlanta), Lavender (Mpls.), Perspective (AK), In Step (Milwaukee), Twist (Seattle), Gay & Lesbian Times (San Diego), Our Own (VA), etc.
    [Show full text]
  • Comics and Controversy: a Brief History of Comic Book Publishing
    A supplement to The Pocket Lawyer for Comic Book Creators by Thomas A. Crowell, Esq., (Focal Press, 2014). © 2014 Thomas A. Crowell, Esq. Comics and Controversy: A Brief History of Comic Book Publishing by Thomas A. Crowell, Esq. The great comic book artist, Will Eisner, defined the comic as a form of “sequential art.”1 Indeed, the narrative use of a series of images is as old as art itself: Cave paintings, Egyptian hieroglyphics, and medieval tapestries are all precursors to the comic book. Yet comics and controversy have been linked from the very start: Founder of the Protestant movement, Martin Luther, was an early target of editorial cartoons (well, engravings anyway); his critics created caricatures of him as a tool of the devil2 (so in a sense, Spider-Man can trace his origins, not just from a radioactive spider, but also from the Reformation). With the advent of the printing press and the proliferation of newspapers and broadsheets, satirical political cartoons soon began to appear. By the eighteenth and nineteenth centuries, editorial cartoons were a staple in the newspapers of the day. Benjamin Franklin’s famous “Join, or Die” is acknowledged as the first political cartoon in America, and served to galvanize support for colonial unity. In 1837 the first graphic novel was published by Swiss cartoonist Rudolphe Töpffer and was serialized in the American newspapers as “The Adventures of Mr. Obadiah Oldbuck.”3 Although conspicuously missing our now-familiar word balloons and sound effects, the comic book panel 1 Comics & Sequential Art. Eisner, W. (1990 Poorhouse Press (Expanded Edition)).
    [Show full text]
  • Chinese Cartoon in Transition: Animal Symbolism and Allegory from the “Modern Magazine” to the “Online Carnival”
    Studies in Visual Arts and Communication: an international journal Vol 4, No 1 (2017) on-line ISSN 2393 - 1221 Chinese Cartoon in transition: animal symbolism and allegory from the “modern magazine” to the “online carnival” Martina Caschera* Abstract By definition, the cartoon (satirical, single-panelled vignette) “reduces complex situations to simple images, treating a theme with a touch of immediacy. A cartoon can mask a forceful intent behind an innocuous facade; hence it is an ideal art of deception” (Hung, 1994:124). As well as their western counterparts, Chinese cartoonists have always based much of their art on the strong socio-political potential of the format, establishing a mutual dependence of pictographic material and press journalism. From a media perspective, the present paper shows how Chinese cartoon developed from 1920s-1930s society ̶ when the “modern magazine” was the most important reference and medium for this newly-born visual language – to the present. Cyberspace has recently become the chosen space for Chinese cartoonists’ visual satire to take part in an international public discourse and in the “online carnival” (Herold and Marolt, 2011:11-15), therefore replacing magazines and printed press. Through emblematic exempla and following the main narrative of “animal symbolism and allegory”, this paper intends to connect the historical background with cartoonists’ critical efficiency, communicative tools and peculiar aesthetics, aiming at answering to questions such as: how Chinese modern cartoon changed, from the first exempla conveyed in “modern magazines” to the latest online expressions? Is its original power of irreverence still alive and how did it survive? How modern cartoonists (Lu Shaofei, Liao Bingxiong) and contemporary cartoonists (Rebel Pepper, Crazy Crab, Ba Diucao) have been dealing with governmental intervention and censorship? Keywords: Visual Culture, Popular Culture, cartoon, satire, censorship, cyberspace Introduction of a top-down indoctrination3.
    [Show full text]
  • CONGRESSIONAL RECORD— Extensions of Remarks E188 HON
    E188 CONGRESSIONAL RECORD — Extensions of Remarks February 10, 2014 Villablanca, who has devoted her career in for drawing began as a young child. After RECOGNIZING THE SERVICE AND medicine to identifying and building awareness graduating from Berkeley High School, Mr. CONTRIBUTIONS OF JOHN of the cardiovascular disease risk factors for Turner served in World War II as a mechanic COLACCHIO women. for the Tuskegee Airmen. During this time, he In 1994, Dr. Villablanca established the na- drew comic strips for military newspapers. HON. ALAN GRAYSON tion’s first program dedicated to researching, Once returning back to the Bay Area, he OF FLORIDA preventing and treating heart disease in IN THE HOUSE OF REPRESENTATIVES women. Heart disease is the leading cause of worked as a clerk for the Oakland Police De- death of women in the United States, causing partment while freelancing cartoons to news- Monday, February 10, 2014 one in three deaths each year, more than all papers and magazines. In 1964, Mr. Turner’s Mr. GRAYSON. Mr. Speaker, I rise today to forms of cancer combined. Dr. Villablanca has drive and admiration for cartooning inspired recognize an outstanding member of the Cen- conducted laboratory research that has ad- him to create cartoons full time. tral Florida community, John Colacchio. Mr. vanced scientific knowledge of the unique bio- During the height of the Civil Rights Move- Colacchio is an 89-year-old veteran of the logical causes and indicators of heart disease ment, Morrie Turner realized that African Second World War who recently participated in women. in an Honor Flight.
    [Show full text]
  • Stan Burdick Cartoon Collection
    STAN BURDICK CARTOON COLLECTION OVERVIEW OF THE OBJECT Repository: Crandall Public Library. Folklife Center Glens Falls, NY. Creator: Stan Burdick Title: Stan Burdick Cartoon Collection Dates: 1999, 2005 Abstract: Two cartoons by Stan Burdick:” A Huff and Puff” and “How to Make a Mayor Smile” Quantity: 2 framed pictures Identification: Art & Artifacts: Art BIOGRAPHICAL NOTES Stan Burdick (1925 – 2015), the cartoonist, was born in Rhode Island and grew up in Rhode Island and New York. For many years he worked as a travelling square dance caller, and with his wife, Cathie, published and edited American Square Dance Magazine. After retiring from the magazine business, Burdick became more involved in drawing editorial cartoons, which appeared in the Times of Ti (Ticonderoga, NY), the Post-Star (Glens Falls, NY) and the Press Republican (Plattsburgh, NY). He founded the Cartoon Museum, first in Hague and later in Ticonderoga, before donating his collection to the Toonseum in Pittsburgh, PA, in 2009. He was one of the founders of the Northern Lake George Rotary, and organizer of the Ticonderoga Stamp Club. He and Cathie were married in the Silver Bay Chapel (Hague, NY) in 1955, and retired to a cottage at Silver Bay in 1991. Glens Falls Mayor Robert A. Regan (Republican), who grew up in Binghamton, served two consecutive four-year terms, from 1998 to 2005. He received a bachelor of arts degree in political science from SUNY Geneseo and a law degree from Albany Law School. Before serving as mayor, Regan was assistant counsel to the New York State Health Committee, and he later served as counsel to state Sen.
    [Show full text]