Cartoonists from the United States

1365 quotes found

"well boss mehitabel the cat has reappeared in her old haunts with a flock of kittens archy she said to me yesterday the life of a female artist is continually hampered what in hell have i done to deserve all these kittens i look back on my life and it seems to me to be just one damned kitten after another i am a dancer archy and my only prayer is to be allowed to give my best to my art but just as i feel that i am succeeding in my life work along comes another batch of these damned kittens it is not archy that i am shy on mother love god knows i care for the sweet little things curse them but am i never to be allowed to live my own life i have purposely avoided matrimony in the interests of the higher life but i might just as well have been a domestic slave for all the freedom i have gained i hope none of them gets run over by an automobile my heart would bleed if anything happened to them and i found it out but it isn t fair archy it isn t fair these damned tom cats have all the fun and freedom if i was like some of these green eyed feline vamps i know i would simply walk out on the bunch of them and let them shift for themselves but i am not that kind archy i am full of mother love my kindness has always been my curse a tender heart is the cross i bear self sacrifice always and forever is my motto damn them i will make a home for the sweet innocent little things unless of course providence in his wisdom should remove them they are living just now in an abandoned garbage can just behind a made over stable in greenwich village and if it rained into the can before i could get back and rescue them i am afraid the little dears might drown it makes me shudder just to think of it of course if i were a family cat they would probably be drowned anyhow sometimes i think the kinder thing would be for me to carry the sweet little things over to the river and drop them in myself but a mother s love archy is so unreasonable something always prevents me these terrible conflicts are always presenting themselves to the artist the eternal struggle between art and life archy is something fierce yes something fierce my what a dramatic life i have lived one moment up the next moment down again but always gay archy always gay and always the lady too in spite of hell well boss it will be interesting to note just how mehitabel works out her present problem a dark mystery still broods over the manner in which the former family of three kittens disappeared one day she was talking to me of the kittens and the next day when i asked her about them she said innocently what kittens interrogation point and that was all i could ever get out of her on the subject we had a heavy rain right after she spoke to me but probably that garbage can leaks so the kittens have not yet been drowned"

- Don Marquis

0 likesPoets from the United StatesCartoonists from the United StatesHumorists from the United StatesJournalists from the United StatesNovelists from the United States
"My generation comes from a world that has been molded by crass TV programs, movies, comic books, popular music, advertisements and commercials. My brain is a huge garbage dump of all this stuff and it is this, mainly, that my work comes out of, for better or for worse. I hope that whatever synthesis I make of all this crap contains something worthwhile, that it's something other than just more smarmy entertainment—or at least, that it's genuine high quality entertainment. I also hope that perhaps it's revealing of something, maybe. On the other hand, I want to avoid becoming pretentious in the eagerness to give my work deep meanings! I have an enormous ego and must resist the urge to come on like a know-it-all. Some of the imagery in my work is sorta scary because I'm basically a fearful, pessimistic person. I'm always seeing the predatory nature of the universe, which can harm you or kill you very easily and very quickly, no matter how well you watch your step. The way I see it, we are all just so much chopped liver. We have this great gift of human intelligence to help us pick our way through this treacherous tangle, but unfortunately we don't seem to value it very much. Most of us are not brought up in environments that encourage us to appreciate and cultivate our intelligence. To me, human society appears mostly to be a living nightmare of ignorant, depraved behavior. We're all depraved, me included. I can't help it if my work reflects this sordid view of the world. Also, I feel that I have to counteract all the lame, hero-worshipping crap that is dished out by the mass-media in a never-ending deluge."

- Robert Crumb

0 likesCartoonists from the United StatesIllustratorsNovelists from the United StatesSatirists from the United StatesComedians from the United States
"I'm such a negative person, and always have been. Was I born that way? I don't know. I am constantly disgusted by reality, horrified and afraid. I cling desperately to the few things that give me some solace, that make me feel good. I hate most of humanity. Though I might be very fond of particular individuals, humanity in general fills me with contempt and despair. I hate most of what passes for civilization. I hate the modern world. For one thing there are just too goddamn many people. I hate the hordes, the crowds in their vast cities, with all their hateful vehicles, their noise, their constant meaningless comings and goings. I hate cars. I hate modern architecture. Every building built after 1955 should be torn down! I despise modern popular music. Words cannot express how much it gets on my nerves—the false, pretentious, smug assertiveness of it. I hate business, having to deal with money. Money is one of the most hateful inventions of the human race. I hate the commodity culture, in which everything is bought and sold. No stone is left unturned. I hate the mass media, and how passively people suck it up. … I hate having to eat, shit, maintain the body—I hate my body. … Nature is horrible. It's not cute and lovable. It's kill or be killed. … How I hate the courting ritual! I was always repelled by my own sex drive, which in my youth, never left me alone. … I hate the way the human psyche works, the way we are traumatized and stupidly imprinted in early childhood and have to spend the rest of our lives trying to overcome these infantile mental fixations. And we never fully succeed in this endeavor. I hate organized religions. I hate governments. It's all a lot of power games played out by ambition-driven people, and foisted on the weak, the poor, and on children. Most humans are bullies. Adults pick on children. Older children pick on younger children. Men bully women. The rich bully the poor. People love to dominate. I hate the way humans worship power—one of the most disgusting of all human traits. I hate the human tendency toward revenge and vindictiveness. I hate the way humans are constantly trying to trick and deceive one another, to swindle, cheat, and take unfair advantage of the innocent, the naïve and the ignorant. I hate all the vacuous, false, banal conversation that goes on among people. Sometimes I feel suffocated. I want to flee from it. For me, to be human is, for the most part, to hate what I am. When I suddenly realize that I am one of them, I want to scream in horror."

- Robert Crumb

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"Sick of Hollywood, tired of fighting and selling out as an artist. I don't believe anyone should do the same thing for the rest of his life. We get a very short time on this planet. Challenging oneself is very important. It's not that I couldn't make other great animated films, but I'd done what I wanted to do, which was make animation an adult medium, if one wanted it to be. And I'd proven to myself that it could work, and it was time to move on to something else. When I sell a painting, I get very excited. I need one person to like what I do, not a million. It's a different structure here. Plus the Hollywood thing. I mean, Hollywood is no place to grow up, no place to live. It's no place to have any friends, no place to enjoy life. It's a disgusting, horrible, craze-driven town. It's only how much do you make, or how fancy a car you have, that determines your status there. And everyone's lying so much that they don't even know they're lying anymore. There's no reality to Hollywood. The fees they pay directors are obnoxious, the money they spend on movies could feed entire starving African... I mean, fuck 'em. I made a few bucks and got out. I don't want to spend the rest of my life with those people. They're disgusting people, and you can quote me on that. There's a lot of great talent there, but it's no place I wanted to spend much time. I'd rather spend time with Rembrandt and Goya at home. They're better company than those schmucks who never read Lord Of The Rings."

- Ralph Bakshi

0 likesScreenwriters from the United StatesCartoonists from the United StatesAnimatorsFilm directors from the United StatesFilm producers from the United States
"When working with existing “franchises,” any good writer will return to the source material from time to time, to see if s/he can divine from that work something that might have been missed before. This is true whether the work is good, bad, or indifferent. The best place to start, however, no matter what the context, is not by saying “the creator didn’t get it right.” That’s the worst kind of hubris. I have been pilloried for my work on Superman, Spider-Man, Doom Patrol, and in the early days even FF and X-Men, yet I have never once said the creators of those series/characters “didn’t get it right.” It disgusts me not only to read Gaiman saying this—about Jack Kirby of all people!—but to see the cartwheels people are willing to turn in order to make his words seem other than what they are. Apparently, dissing one of the greatest talents this industry has produced is okay, as long as you’re on the Approved List. Next, how Eisner screwed up the Spirit, and Lee and Ditko on Spider-Man—what the heck were they thinking?? Maybe you should keep in mind, then, that the only person who knows if a creator “got it right” is the creator himself. Unless Kirby told Gaiman he felt he didn’t “get it right” on The Eternals, it’s pretty f***ing arrogant of Gaiman to make such a statement. “Kirby didn’t get it right, and I probably won’t either” sound like it should read “I don’t want to do this series.” (2006)"

- John Byrne

0 likesAuthors from CanadaArtists from CanadaCartoonists from the United StatesComics authorsPeople from Birmingham
"The tenement – the name derives from a fifteenth-century legal term for a multiple dwelling – always seemed to me a “ship afloat in concrete.” After all didn’t the building carry passengers on a voyage through life? No. 55 sat at the corner of Dropsie avenue near the elevated train, or the elevated as we called it in those days. It was a treasure house of stories that illustrated tenement life as I remembered it, stories that needed to be told before they faded from memory. Within its “railroad flats,” with rooms strung together train-like lived low-paid city employees or laborers and their turbulent families. Most were recent immigrants, intent on their own survival. They kept busy raising children and dreaming of the better lie they knew existed “uptown.” Hallways were filled with a rich stew of cooking aromas, sounds of arguments and the tinny wail from Victrolas. What community spirit there was stemmed from the common hostility of tenants to the landlord or his surrogate superintendent. Typically, the buildings tenants came and went with regularity, depending on the vagaries of their fortunes. But many remained for a lifetime, imprisoned by poverty or old age. There was no real privacy or anonymity. Everybody knew about everybody. Human dramas, both good and bad, instantly gathered witness like ants swarming around a piece of dropped food. From window to window or on the stoop below, the tenants analyzed, evaluated and critiqued each happening, following an obligatory admission that it was really none of their business."

- Will Eisner

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"This patchwork of largely fictional works makes the Protocols an incoherent text that easily reveals its fabricated origins. It is hardly credible, if not in a roman feuilleton or in a grand opera, that the “bad guys” should express their evil plans in such a frank and unashamed manner, that they should declare, as the Elders of Zion do, that they have “boundless ambition, a ravenous greed, a merciless desire for revenge and an intended hatred.” If at first the Protocols was taken seriously, it is because it was presented as a shocking revelation, and by sources all in all trustworthy. But what seems incredible is how this fake arose from its own ashes each time someone proved that it was, beyond all doubt, a fake. This is when the “novel of the Protocols” truly starts to sound like fiction. Following the article that appeared in 1921 in the Times of London revealing that the Protocols was plagiarized, as well as every other time some authoritative source confirmed the spurious nature of the Protocols, there was someone else who published it again claiming its authenticity. And the story continues unabated on the Internet today. It is as if, after Copernicus, Galileo, and Kepler, one were to continue publishing textbooks claiming that the sun travels around the earth. How can one explain resilience against all evidence, and the perverse appeal that this book continues to exercise? The answer can be found in the works of Nesta Webster, an antisemetic author who spent her life supporting this account of the Jewish plot. In her Secret Societies and Subversive Movements, she seems well informed and knows the whole story as Eisner narrates it here, but this is her conclusion: The only opinion I have committed myself is that, whether genuine or not, the Protocols represent the programme of a world revolution, and that in view of their prophetic nature and of their extraordinary resemblance to the protocols of certain secret societies of the past, they were either the work of some such society or of someone profoundly versed in the lore of secret society who was able to reproduce their ideas and phraseology. Her reasoning is flawless: “since the Protocols say what I said in my story, they confirm it,” or: “the Protocols confirm the story that I derived from them, and are therefore authentic.” Better still: “the Protocols could be fake, but they say exactly what the Jews think, and must therefore be considered authentic.” In other words, it is not the Protocols that produce antisemetism, it is people’s profound need to single out an Enemy that leads them to believe in the Protocols. I believe that-in spite of this courageous, not comic but tragic book by Will Eisner- the story is hardly over. Yet is is a story very much worth telling, for one must fight the Big Lie and the hatred it spawns."

- Will Eisner

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"In 1848, driven by a revolution in Paris, King Louis Philippe abdicated and Louis Napoleon (a nephew of Napoleon Bonaparte) was elected president of France. Four years later, after a coup d’etat, Louis Napoleon styled himself Napoleon II, emperor of France. Napoleon III’s first act as emperor was to imprison his political opponents. He was a crafty monarch, and his ambition during his reign was to seek glory through military adventurism while the great mass of French peasants remained ina state of poverty and despair. Initially, Napoleon III achieved a short-lived public popularity by trying to “modernize” France and liberalize its economy, but his legacy remains that of a dictator and conniving politician. In 1870, fearful that Germany was expanding too fast, Napoleon III declared war against this neighbor. The French were quickly defeated, and Napoleon III became a prisoner of war. Upon release in 1871, he was exiled to England, where he lived until his death in 1873. Maurice Joly was mindful of this growing tension between Germany and France. He had been born in 1821 of French parents. He was admitted to the Paris bar as an attorney and was a one-time member of the General Assembly. Joly devoted most of time to writing caustic essays on French politics. He joined many other severe critics of Napoleon III, who regarded him as a ruthless despot. In 1864, Joly wrote a book called “The Dialogue in Hell between Machiavelli and Montesquieu.”…It intended to liken Napoleon III to the infamous Machiavelli, author of “The Prince,” a treatise on the acquisition of power. Holy intended to reveal the French dictator’s dark and evil plans."

- Will Eisner

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"1905 Tsar Nicholas II made inept efforts to mollify his angry people by granting basic liberties and allowing a parliament (Duma), which he kept dissolving. Meanwhile he ruthlessly suppressed the people’s rising. Royal troops fired ona peaceful march of workers in St. Petersburg on January 9, known as Bloody Sunday. Anti-Jewish pogroms were rampant. The Russian edition, published by Dr. Nilus, of the “Protocols of Zion” was widely circulated. Monarchists frequently read it aloud to illiterate peasants. 1914 The start of World War I led to Russian military defeats. A failing economy brought about terrible civilian suffering. Loyalists openly spoke about a “Jewish plot”. Food riots, strikes, and the tsar’s panicky dissolution of the Fourth Duma exploded into revolution. By November, the Bolsheviks (the revolutionary faction of the former Social Democratic workers’ party) had seized control of the government. Royalist Russians began a civil warand were defeated. Tsar Nicholas II abdicated and was executed, along with his family, by Bolsheviks in 1918. Russian aristocrats fled Russia and dispersed throughout Europe, the Far East, and the Middle East. There they settled as expatriates. Most had little work experience.In order to earn money, they frequently sold valuables. Some of these items provided information on the Russian use of anti-Semitic literature."

- Will Eisner

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"1920 The Times London, Saturday, May 8, 1920. “The Jewish peril.” A disturbing pamphlet Call for inquiry. (From a correspondent.) The Times has not as yet noticed this singular little book. Its diffusion is, however, increasing, and its reading is likely to perturb the thinking public. Never before have a race and a creed been accused of a more sinister conspiracy. We in this country, who live in good fellowship with numerous representatives of Jewry, may well ask that some authoritative criticism should deal with it., and either destroy the ugly “Semitic” body or assign their proper place to the insidious allegations of this kind of literature. In spite of the urgency of impartial and exhaustive criticism, the pamphlet has been allowed, so far, to pass almost unchallenged. The Jewish Press announced, it is true, that the anti-semitism of the “Jewish Peril” was going to be exposed. But save for an unsatisfactory article in the March 5 issue of the ‘’Jewish Guardian’’ and for an almost equally unsatisfactory article in the March 5 issue of contribution to the ‘’Nation’’ of March 27, this exposure is yet to come. The article of the ‘’Jewish Guardian’’ is unsatisfactory, because it deals mainly with the personality of the author of the book in which the pamphlet is embodied, with Russian reactionary propaganda, and the Russian secret police. It does not touch the substance of the “Protocols of the Learned Elders of Zion.” The purely Russian side of the book and its fervid “Orthodoxy.” Is not its most interesting feature. Its author-Professor S. Nilus-who was a minor official in the Department of Foreign Religions at Moscow, had, in all likelihood, opportunities of access to many archives and unpublished documents. On the other hand, the world-wide issue raised by the “Protocols” which he incorporated in his book and are now translated into English as “The Jewish Peril,” cannot fail not only to interest, but to preoccupy. What are the these of the “Protocols” with which, in the absence of public criticism, British readers have to grapple alone and unaided?"

- Will Eisner

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"”Jewish Peril” exposed. Historic “Fake.” Details of the forgery. More parallels. We published yesterday an article from our Constantinople Correspondent, which showed that the notorious “Protocols of the Elders of Zion” – one of the mysteries of politics since 1905 – were a clumsy forgery, the text being based on a book published in French in 1865. The book, without title page, was obtained by our correspondent from a Russian source, and we were able to identify it with a complete copy in the British Museum. The disclosure, which naturally aroused the greatest interest among those familiar with Jewish questions, finally disposes of the “Protocols” as credible evidence of a Jewish plot against civilization. We publish below a second article, which gives further close parallels between the language of the Protocols and that attributed to Machiavelli and Montesquieu in the volume dated from Geneva. Plagiarism at Work. (From our Constantinople Correspondent.) While the Geneva Dialogue open with an exchange of compliments between Monsequieu and Machiavelli, which covers seven pages, the author of the Protocols plunges at once in medias res. One can imagine him hastily turning over those first seven pages of the book which he has been ordered to paraphrase against time, and angrily ejaculating, “Nothing here.” But on page 8 of the Dialogues he finds what he wants."

- Will Eisner

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"When I was a kid I spent a lot of time playing with the artisticly rooted pieces of junk that George was selling me. My wife Lauren did the same the only difference was her junk was pink and had combable hair. Either way these toys were far from junk, in fact they were our lives. Everyday we would make up characters, worlds, and adventures for them. Lauren's My Little Pony world was no less valid than My Little Star Wars world.So imagine little Lauren's surprise when she heard there was going to be a cartoon of her favorite toy! Imagine her dissapointment when the cartoon didn't live up to the world she had created in her head. Maybe she wouldn't have been so upset if she realized that cartoon was only bad because it was produced by a bunch of dudes who couldn't believe they were working on My Little Pony, uggggh. Imagine if they let HER make it, she knows why girls like Pony, she knows what will make it fun and cool.Now imagine 30 years later in some crazy cosmic coincidence she actually does get a get a chance to finally bring that world she's had in her head since she was a little kid to life! Maybe just maybe if she can traverse the waters of notes, schedules, and executives she can finally inject a little a artistic integrity and creative vision into it and make a MLP that girls will actually really like.Heck I even like it now and I hated that lame Pony junk, it wasn't cool like my Star Wars junk."

- Craig McCracken

0 likesAnimatorsCartoonists from the United StatesFilm directors from the United StatesScreenwriters from the United StatesTelevision producers
"I've been trying to think of a metaphor to represent Mission Blue, and this is what I came up with. Imagine you're in an enormous room, and it's as dark as a cave. And you can have anything in that room, anything you want, but you can't see anything. You've been given one tool, a hammer. So you wander around in the darkness, and you bump into something, and it feels like it's made of stone. It's big, it's heavy. You can't carry it away, so you bang it with your hammer, and you break off a piece. And you take the piece out into the daylight. And you see you have a beautiful piece of white alabaster. So you say to yourself, "Well, that's worth something." So you go back into the room, and you break this thing to pieces, and you haul it away. And you find other things, and you break that up, and you haul those away. And you're getting all kinds of cool stuff. And you hear other people doing the same thing. So you get this sense of urgency, like you need to find as much stuff as possible as soon as possible. And then some yells, "Stop!" And they turn up the lights. And you realize where you are; you're in the Louvre. And you've taken all this complexity and beauty, and you've turned it into a cheap commodity. And that's what we're doing with the ocean. And part of what Mission Blue is about is yelling, "Stop!" so that each of us -- explorer, scientist, cartoonist, singer, chef -- can turn up the lights in their own way. And that's what I hope my comic strip does in a small way. That's why I like what I do."

- Jim Toomey

0 likesCartoonists from the United States
"I was lucky as a kid to get to meet Paul Conrad who lived in my hometown. He is a giant in editorial cartooning, winner of three Pulitzers and even more impressively he won a place on Nixon‘s enemies list. He was a huge influence. Starting out I also spent a lot of time looking at Ron Cobb, an insane crosshatcher who drew for the alternative press in the ’60’s, as well as David Levine, Ed Sorel, and R. Crumb. I also love Steinberg‘s visual elegance and innately whimsical voice. Red Grooms is another guy who took cartooning wonderful places. There are also a number of 19th-century cartoonists whose mad drawing skills and ability to create rich visual worlds always impressed me. A.B. Frost, T.S. Sullivant, Joseph Keppler are often overshadowed by Nast, but in many ways they were more adventurous graphically. Geez, maybe I am an anachronism. I also want to throw in here how great it is to work in D.C. There’s a great circle of cartoonists here and being in their orbit is a daily inspiration. Opening the Post to Toles and Richard Thompson (Richard’s Poor Almanac is the best and most original cartoon in the country and sadly known mostly only to those lucky enough to be in range of the Post;, Cul de Sac is pretty good too). And then there’s Ann Telnaes’ animations that appear in the Post online—-truly inspired and the wave of the future, as well as Beeler, Galifianakis, Bill Brown, and others. It raises one’s game to be around all these folks."

- Matt Wuerker

0 likesCartoonists from the United StatesPulitzer Prize winners
"If I had no other pleasant memories to recall than those of the beautiful women I have met who were active in progressive or radical affairs, life would still be worth while. I fell in love with Elizabeth Gurley Flynn when as a young girl she aroused uncounted thousands with her clear, ringing voice to the cause of social revolt. When I think of beauty I know that some on my list would not have passed a jury test for what is called feminine beauty today. But as a jury of one I attest that they were beautiful to my eyes, and their loveliness lingers in retrospect. With no attempt at alphabetical arrangement or making a complete list, I think of Margaret Larkin, Ernestine Evans, Rebecca Drucker, Ruth and Hannah Pickering, Jessica Smith, Crystal Eastman, Marguerite Tucker, Inez Milholland, Genevieve Taggard, Mary Marcy, Doris Stevens, Louise Bryant, Edna Porter, Leane Zugsmith. Freda Kirchwey. Sara Bard Field. Lydia Gibson, Martha Gruening. Clara Gruening Stillman. Jane Burr, Caroline Lowe, Jessica Milne, Mary Ware Dennett, Harriot Stanton Blatch. Margaret Sanger. Helen Black, Mary Heaton Vorse, Anna Strunsky, Louise Adams Floyd, Helen Keller. Grace Potter, Edna Kenton. Helen Todd, Anne Valentine, Carrie Giovannitti, Rose Hanna, Lucy Branham, and Sophia Wittenberg Mumford. And these are only a few of the many I have watched as they did their part in the fight to make this a better world to live in-organizing, picketing, speaking to crowds in halls or on street corners, writing, and raising money. (Chapter 40. Overflow Meeting of Memories)"

- Art Young

0 likesCartoonists from the United StatesJournalists from the United StatesSocialists from the United StatesPeople from IllinoisPeople from Wisconsin
"On the twenty-ninth day of December he mailed me one of his unique postcards, Art himself toiling up a big hill with all kinds of war birds and "blitzkrieg" around him. The card is inscribed underneath, "It's a long road, but now we are getting somewhere"...Art had been through many hard places in the "road" with me, and our "comradeship" of so many years is even closer than a family. It is our family...He really loved people, like our mutual friends, Gene Debs, Horace Traubel-Whitman's disciple-Fred Long, and a few others, close, and understanding. Now, all of these comrades have passed out of life and we must keep their memories green, paying more attention to the young people the new generation; that was the strong point in the character of Art Young...Art Young is still in our lives. His work remains. We just have to close our ranks, get a little closer with more understanding love and when the history of the "people's culture" of America is written, Art Young's name will shine very brightly. Because of his great talent in illustrating the struggles of the people against fascism in all its forms-not only in art forms, but also in humorous understanding words-he will be understood and loved by the youth of the future, and we older ones, in spite of loneliness and misunderstanding, shall work a little harder to win the war. The word "remember" was also on Art's card. Yes, we will remember and translate that memory into action."

- Art Young

0 likesCartoonists from the United StatesJournalists from the United StatesSocialists from the United StatesPeople from IllinoisPeople from Wisconsin
"Art Young's drawings are published in the principal Army paper, Red Star, the satirical magazine Crocodile, Ogonyok magazine and others. He belonged to those artists to whom working means fighting for justice, and in our time one cannot fight for justice without being an active anti-fascist. Art Young was our friend and comrade-in-arms because his efforts were directed against Nazism. His biting cartoons appeal to the masses. His hard-hitting style is effective not only in his country but far beyond it. His works, impressive for their clear-cut statement of political themes and simplicity of form, can be achieved only by an experienced master. I have on my table one Art Young drawing dealing with the heroic struggle of the Red Army against Hitler's Germany. Hitler is shown in it. This is one of those social caricatures depicting the loathsome character of the Nazi regime with great impressiveness. Drawings such as this expose the rottenness of Hitler's "New Order" and the monstrosity of Nazi crimes. Thus, a fervent anti-Nazi takes part in the great battle waged by freedom-loving nations against evil forces. The artistic intelligentsia has lost one of its outstanding members. But Art Young's work will live on and call upon his young colleagues to take an active part in the struggle against Hitler's Germany for the happiness of mankind."

- Art Young

0 likesCartoonists from the United StatesJournalists from the United StatesSocialists from the United StatesPeople from IllinoisPeople from Wisconsin
"Sometimes I'm lonely, but I am never discouraged," Art said to my sister Katherine, her daughter Frances, and me, when we were together at what was to be his last supper. He died a few hours later. In retrospect, it seemed as if he unconsciously spoke his own epitaph, not in a somber or foreboding spirit but in his naturally philosophical and calm manner. "I figure I should be able to live another twenty years," he continued, "and I know that in that time I will see socialism spread through the world." Our conversation was desultory-now serious, now gay, but with an undercurrent of the great changes taking place in the world, of which he was so keenly aware...He spoke considerably on longevity that night, of George Bernard Shaw and Mother Bloor and of our mother...He was a consistent and courageous admirer of the Soviet Union and the Red Army and described himself to me more than once as "A non-party Bolshevik." He had an extraordinary capacity to remain friends with people far removed from his social ideas-if they were honest in their views. But he would never sell his talents for what he disbelieved in, no matter how great his personal sacrifices. His friendship with Brisbane was on this basis...Art Young was gentle in manner, kindly and reassuring. But he was a great fighter against injustice, poverty, inequalities, and against fascism in all its forms. He was never downhearted about the progress of the world. He spoke to us rather regretfully that night about having to sell his little place in Connecticut where he had always planned to have a museum for his pictures and which he had started to build, I believe, or at least had designed. "I got a little money to live a little longer," he said. He said once to his friend Marguerite Tucker: "If I was in the Soviet Union I would be a people's artist and would not need to worry about money."

- Art Young

0 likesCartoonists from the United StatesJournalists from the United StatesSocialists from the United StatesPeople from IllinoisPeople from Wisconsin
"He was a great artist with a generous heart full of feeling and understanding. He suffered with the struggles of the downtrodden, and sided with them in their plights. When an injustice had been committed, he flashed his sharp pen and brush against the tyrants and fascists. His art, like himself, had a keen wit that penetrated deeply. Wherever and whenever Art Young's name is mentioned, people, without exception, express a love for the man and his work. He was truly a people's artist...I once asked him if he ever felt lousy about any cartoon he had done, and he told us of one he had been asked to draw for the old Life, when it was a humorous weekly. The editor had asked for a double-page spread, on which he was to draw a comic figure of a Jewish Broadway producer controlling the gay White Way. Art finished the drawing and received a hundred-dollar check which he needed very badly. But he was somehow not very happy about the idea. At that time, Art recalled, we had no political awareness, no organizations that fought anti-Semitism. So he went to the editor, returned the check and asked for his cartoon back. He walked down the street tearing it up, and with every rip he said he felt happy, although hungry. To most of us artists, Art Young was more than a friend; more than a fellow-artist who for so many years had worked with us, with whom we had exchanged confidences. We all had a special respect for Art Young. He carried with dignity our convictions, and in trying times, when some writers of the old Masses and Liberator went sour one way or another, Art Young stood fast, and the artists were with him. The works of Art Young will live, and the principles and spirit that Art Young stood for will remain an outstanding inspiration, an everlasting monument to a great man and a great artist."

- Art Young

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"For a brief time, roughly between 1912 and 1918, The Masses became the rallying center-as sometimes also a combination of circus, nursery, and boxing ring-for almost everything that was then alive and irreverent in American culture. In its pages you could find brilliant artists and cartoonists, like John Sloan, Stuart Davis, and Art Young; one of the best journalists in our history, John Reed (journalist), a writer full of an indignation against American injustice that was itself utterly American; a shrewd and caustic propagandist like Max Eastman; some gifted writers of fiction, like Sherwood Anderson; and one of the few serious theoretical minds American socialism has produced, William English Walling. All joined in a rumpus of revolt, tearing to shreds the genteel tradition that had been dominant in American culture, poking fun at moral prudishness and literary timidity, mocking the deceits of bourgeois individualism, and preaching a peculiarly uncomplicated version of the class struggle. There has never been, and probably never will again be, another radical magazine in the U. S. quite like The Masses, with its slapdash gathering of energy, youth, hope...As one looks back across the shambles of the intervening decades, it is hard not to envy them: the fierce young John Reed (journalist) making his prose into a lyric of revolt, the handsome young Max Eastman mediating among a raucus of opinions, the cherubic Art Young drawing his revolutionary cartoons with the other worldly aplomb of a Bronson Alcott. History cannot be recalled, but in this instance at least, nostalgia seems a part of realism. For who among us, if enabled by some feat of imagination, would not change places with the men of The Masses in their days of glory?"

- Art Young

0 likesCartoonists from the United StatesJournalists from the United StatesSocialists from the United StatesPeople from IllinoisPeople from Wisconsin
"It was in 1917 that my teacher and I first met Art Young at our Forest Hills home. He was a guest whom Anne Sullivan Macy especially welcomed. Her many-faceted personality was an open book to him. Then his delightful kindliness, humor, sudden whims, sincerity, and the dreams of beauty hovering round his fighting citadel endeared him to her kindred spirit. At a time when reaction was riding roughshod over the earth and throttling those who protested against the betrayal of the people's aspiration to genuine liberty by the capitalist empires, Art Young was emerging from his trial for anti-war charges a gentle yet formidable Samson, and I recall the gay courage with which he defied any power to muzzle the thunder and lightning of his art. It was a marvel how many truths he packed into pictures which opened blind eyes to our community of fate and interest with the downtrodden and the toilers of the world. Some of Art Young's drawings were embossed for me, and I sensed vividly the highly individual and forceful manner in which he presented with the brush ideas that he hoped would serve as a ferment in American economic philosophy. My fingers could appreciate his pictorial power in uncovering hell and its network of race prejudice and enslavement. A year never passed during which I was not thrilled by his inventiveness in devising themes that provoked wide discussion and pushed further the painfully slow campaign of education in true freedom among the working people. Little by little the pillars loosened at which his Samson hatred of oppression tugged, and it is devoutly to be hoped that his death has left them irrevocably sagging to their downfall. There is no calculating the might of patient efforts like his which quietly root themselves in the granite of tyranny and crumble it into life-giving soil. Besides the keen-eyed radical and uncompromising idealist there was another aspect of Art Young I knew-his brimming joy in all things friendly and wholesome, all things that foster song, laughter, and poetry. He said the song of a bird or a burst of morning-glories at this door or a sparkle of dew-wet verdure was enough to crowd new ideas into his day, and evening peace flooded his imagination with fantastic beckoning forms in the trees around him. In all moods, places, and activities he sought to make his labors a telling force in a future that would enable everyone with a special gift or genius to achieve a nobler civilization."

- Art Young

0 likesCartoonists from the United StatesJournalists from the United StatesSocialists from the United StatesPeople from IllinoisPeople from Wisconsin
""Tell me the story of your life!" With an owlish solemnity equal to my own, he replied: "I was born in Illinois, studied in Paris,-But the rest doesn't matter-at least not yet? A man must be dead at least fifty years before we can take a human interest in these dry facts of his early life. "I would rather draw political cartoons than anything else;" said Mr. Young. "I believe in the picture with a purpose. There must be a vital idea back of every drawing that is really worth while. I have no patience with these so-called artists who expect intricate technicality to make up for a lack of ideas. In fact, I don't believe in technique at all...Real art is, in the last analysis, simply self-expression. Socialism always has been and suppose always will be the keynote of my work. To me it is the culmination of all radicalism and the thought back of most of my drawings. I have been very fortunate in being allowed considerable freedom in this direction even when employed by capitalist papers. But you see," he concluded naively, "I made that a condition of my work." He summed up the purpose of his work in the following words simplicity and strength. The proud possessor of an idea must present it simply and with sufficient force to make it comprehensible to the proletarian for whom Mr. Young states that all his work is done. "It is the working man, seated by his lamp in the evenings in his shirt sleeves pouring over the evening paper for whom I make my drawings." There was no affectation, no posing, nothing but the most virile and yet child-like simplicity here. Strength and simplicity are, he says the keynote of all good work. And that was the strongest impression of the interview, as it was of the studio, as it is of his work, as it seems to be of the man himself-strength and simplicity."

- Art Young

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"What can ordinary people with busy lives and not a lot of political access do to address this stuff? You can try to address it in your own life. You can try to set up your life so you have to drive as little as possible. In so doing, you vote with your feet and your wallet. When more people bike, walk and use public transit, there is greater pressure on elected officials and government agencies to improve these modes of transportation. It thus increases the profitability of public transit and makes cities more desirable places to live. It also helps reduce your carbon footprint and reduces the amount of money going to automobile manufacturers, oil companies and highway agencies. In a globally connected capitalist world, cities and countries are competing for highly skilled labor—programmers, engineers, scientists, etc. To some degree, these people can live anywhere they want. So San Francisco or my current city in Minnesota aren’t just competing with other U.S. cities but are competing with cities in Europe for the best and brightest talent. Polls and statistics show that more and more skilled people want to live in cities that are walkable, bikeable and have good public transit. Also our population is aging and realizing that they don’t want to be trapped in automobile-oriented retirement communities in Florida or the southwest USA. They also want improved walkability and transit. Finally, there’s been an explosion of obesity in the USA with resulting increases in healthcare costs. Many factors contribute to this but increased amounts of driving and a lack of daily exercise are major factors. City, state and business leaders in the US are increasingly aware of all this. It is part of Gil Peñalosa’s “8-80” message (the former parks commissioner of Bogotá, Colombia) and many other leaders."

- Andy Singer

0 likesCartoonists from the United StatesEnvironmentalists from the United StatesPeople from Minnesota
"What are your feelings from Bush to Obama? Besides being responsible for the death of half a million people, I feel like Bush dealt a huge economic and social blow to the USA, one from which we may never fully recover. He directly flushed 3 trillion dollars down the toilet on hopeless, pointlessly destructive wars in Afghanistan and Iraq …and they’re not even over! For years to come, we’ll be paying costs for all the injured veterans (over 50,000) and destabilizing three countries, because you have to look at the impact that the Afghan war has on Pakistan. Bush expanded the use of torture, and created a whole new layer of government bureaucracy (the “Department of Homeland Security”) to spy on Americans. He created Indefinite Detention (at Guantanamo and other US military bases) and expanded the use of executive-ordered assassinations using the new drone technology. On economic issues, his administration allowed corporations to run things and regulate themselves. The agency that was supposed to regulate oil drilling had lobbyist-paid prostitutes sleeping with employees while oil industry lobbyists basically ran the agency. Energy companies like Enron, and the country’s investment banks were deregulated at the end of the Clinton administration and Bush allowed them to run wild. Above all, he was incompetent and appointed some really stupid people to important positions at every level of government. Certainly, Obama has been involved in many of these same activities. A few he’s increased, such as the use of drone assassinations, but most of them he has at least tried to scale back. At the beginning of his first term, he tried to close the Guantanamo prison and have trials for many of the detainees in the United States but conservatives (including many Democrats) stirred up public resistance and blocked this from happening. He tried to get some kind of universal healthcare because over 50 million Americans don’t have health insurance. This is one of the leading causes of personal bankruptcies and foreclosures because someone gets sick in a family, loses their job, loses their health insurance (because American employers are source of most people’s healthcare) and they can’t pay their health bills or their mortgage. Or they use up all their money caring for a sick family member. So many people in the US wanted health insurance reform or single-payer, universal health care similar to what you have in the UK. Members of Obama’s own party (The Democrats) joined with Republicans to narrowly block “The public option” but they managed to pass a half-assed but not-unsubstantial reform of health insurance that would prevent insurers from denying you coverage when you’re sick or have a “preexisting condition.” The minute it was signed into law, Republicans sued in the courts (all the way to the supreme court) and fought, tooth and nail to block its implementation. Same thing with gun control, even as we’re one of the most violent industrial countries in the world. (Among industrial countries, our murder rate is second only to Russia). Obama has managed to withdraw troops from Iraq and Afghanistan over Republican opposition but, literally, everything he tries to do, they blast it in the media and fight it in Congress. So, while I have a lot of criticisms of Obama, he is many orders of magnitude less awful than Bush and many of the positive things he’s tried to do have been blocked. That said, the Democratic and Republican parties agree on more things than they disagree. Both signed off on the Afghan and Iraq wars. Both signed off on deregulation of banks, of derivatives, of mortgage regulations and of the energy and telecom business …and we’ve been living with the consequences ever since. I’m guessing it’s the same thing with Labor and Conservatives in the UK. Labor or Democrats will SAY they stand for certain “progressive” things but they end up supporting the same old crap— neo-colonialism or outright imperialism in foreign policy, deregulation, privatization, etc. Blair signed off on Bush’s Iraq war …just like Hillary Clinton, John Kerry and many “liberal” U.S. politicians. And only one member of congress (Barbara Lee of California) even questioned the war in Afghanistan—one congressperson out of over 500!"

- Andy Singer

0 likesCartoonists from the United StatesEnvironmentalists from the United StatesPeople from Minnesota
"Print media started collapsing in the mid-2000s. When I first started out, it seemed like alternative news weeklies were the future of newspapers. It was a booming industry. It was a product of the nineties and that nineties mentality. At the time, I had a day job at the University of Virginia and I was sending my strip out and picked up one paper here and another paper there very gradually. I was building up a client list and then that fateful day where Village Voice Media dropped comics across the entire chain. I was actually spared the worst of that. I think I was just in the Village Voice at the time, but that was a big loss. Not that the pay was all that great, but it had been my goal to get into that paper. At the time I really wasn’t sure whether I would be able to continue, but then dailykos came along and picked up a bunch of alt weekly cartoonists and breathed some life into our industry online. They did really well on dailykos they were shared a lot and got good traffic and I think it set a precedent. Not that it was the first home for political cartoons online, but something about dailykos at that moment turned the tide a bit. A few more websites started running political cartoons – and paying fairly for them. People started realizing that they were highly shareable and that they could do well online. I’ll add that print has stabilized. At least it had stabilized under the second Obama administration. I actually added papers during that time. I wouldn’t say this is a growth industry. I think it would be very hard to break into now, but I did get the sense that print media had stabilized and some papers were doing okay. For me it’s really a hybrid now between print and digital. Certainly the digital side of things has grown the most in the past few years."

- Jen Sorensen

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"I'm hard-pressed to think of a thing that happened in politics that is purely just comedy, because people's lives are at stake. I think the worst kind of political cartoon is just, like, "Look at this thing that happened." Like, "Here's a drawing of a news event with nothing to say about it." No point of view, nothing to say. That's not funny to me. What is funny to me is a point of view. It's something to say that is interesting or surprising about the subjects. Like, what is bad about Trump? 'Cause there's a million things, right? I think what's bad about Trump is the system that produced him. I try to think much more about the root causes of things and less about the aesthetic differences that I have with a politician. The jokes that are just like, "Oh, Trump's hands are small" are less funny to me. It's a little easy to poke fun at a person; it's harder and more interesting to poke fun at a structure. Because when you see Trump do something, it's not just him; it's hundreds of thousands of people enabling his policy-it's a whole support system there. For me, it was really clarifying when Trump was elected. A lot of the reaction, especially the more center-left, was like, "Oh no, Trump has dropped out of space, like from a meteorite. He's this rogue figure!" That's distorting everything he is. You can draw an extremely straight line from where the Republican Party was at with Reagan to Trump. I think it's more interesting to talk about that stuff."

- Mattie Lubchansky

0 likesCartoonists from the United StatesSatirists from the United StatesIllustratorsEditors from the United States
"When is it correct to use the F-word? Not the four-letter one that has become so common it barely raises an eyebrow, the seven-letter political word: fascist. The term arose with the early 20th century European political movement that gave us Hitler and Mussolini, so it weighs heavy with the horrors of World War II and the Holocaust. But, arguably, there are 21st century fascist regimes, even if they do not brand themselves with the term. Hungary’s leader, Viktor Orban, probably qualifies as a fascist. Russian President Vladimir Putin certainly does. Even the supposedly communist regime in China is more fascist than Marxist. Broadly defined, what is a fascist? Here are some key characteristics: A fascist supports a charismatic nationalist leader who seeks total or near total power. A fascist is a member of a party or a movement that supports that leader without question. Fascists believe political opposition is illegitimate and subversive and that perceived enemies of the state -- whether in the media, in popular culture, in academia or in competing political parties -- must be suppressed or, if it is the leader’s wish, prosecuted and tossed into prison. A fascist believes private industry, the courts and elected officials should all be in thrall to the leader. And a fascist has no objection to the leader’s quasi-military secret police committing acts of political violence and rounding up alien groups perceived to be a detriment to the homeland."

- David Horsey

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