Nick anderson cartoonist biography channel
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Pen Strokes
Yesterday, my friend and cartoonist colleague Ann Telnaes resigned in protest from the Washington Post. Ann has been drawing editorial cartoons for the brev since 2008. She made the announcement on her Substack platform:
“I’ve worked for the Washington Post since 2008 as an editorial cartoonist. inom have had editorial feedback and productive conversations — and some differences — about cartoons I have submitted for publication, but in all that time I’ve never had a cartoon killed because of who or what inom chose to aim my pen at. Until now.”
The cartoon featured a handful of American oligarchs — including Washington Post owner Jeff Bezos — bending the knee to Trump, and offering tribute in the form eller gestalt of cash. Mickey Mouse, was depicted in an even worse light, prostrating himself to Trump in a reference to Disney’s $16 million payoff to Trump to settle a dubious defamation suit against ABC News.
I have mixed feelings about this. First, I’ve always admired Ann’s work
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A Deep Dive Into the History of West Alabama Ice House
Seated at his desk at The Houston Chronicle in July 2017, Nick Anderson was neck-deep in research, searching for the subject of his latest cartoon, while mentally packing ahead of his family’s impending move to the Riverside Terrace house he’d closed on only six days prior when the phone rang: his boss needed to see him in his office.
What happened next is something of a blur, even three years later. There may have been arguing. He’s certain there was a handshake with the publisher outside HR, but the end result was the same. “Pure hell,” Anderson says.
Anderson was the very last of the Lone Star State’s once formidable cadre of staff editorial cartoonists. His abrupt pink slipping marked the end of an era, and left Anderson himself adrift. The Pulitzer Prize winner’s dream job, spending his days drawing sharply observed cartoons poking fun, pointing out failings, and puncturing hubris on all sides of the political are
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