Tag Archives: Bill Mauldin

SYNDICATED COLUMN: Why Does the Military Treat Soldiers Like Children?

Why Doesn’t the Pentagon Let Its Employees Be All They Can Be?

The U.S. military isn’t supposed to allow child soldiers to enlist (though reality can differ). So why does it treat recruits like children?

Other than religious avocations, it’s impossible to think of another major employer that asks as much of prospective workers as the Pentagon, yet offers so little. Salaries are lower than for comparable private-sector jobs. The skills one acquires don’t translate easily to other fields. The risks couldn’t be higher. But most baffling, for a force supposedly dedicated to defending our freedom, is that they get little freedom of their own.

You’ve heard the drill sergeant line in movie boot-camp scenes: “You are now the property of the United States of America.” That’s true. Once signed up, soldiers and sailors can be assigned anywhere, to any job, completely at their commanders’ discretion. Sometimes they take your skills, desires or ambitions into consideration. Not always.

Active duty, recruiters tell young men and women, lasts two to five years — after which they’re supposed to wind up in the reserves, free to go home unless there’s a national emergency. But the President can invoke the “stop-loss” provision, which means you can get stuck as long as eight.

It’s time for the military to catch up to the modern workplace.

American workers are getting more of a raw deal in many ways: lower wages and benefits, companies that ignore the federal Fair Labor Standards Act, no more pensions. Yet the fraying of the postwar labor-management social contract has also provided employees with greater flexibility. You may have to work three crappy jobs to make ends meet, but crappy jobs are easy to replace. You can move to another city and probably find three crappy jobs there. You certainly don’t have to worry about one of your crappy employers shipping you off to Afghanistan, much less coming home in a coffin.

The military’s insistence on treating its workers like property to be disposed of at whim is obsolete, making it increasingly difficult — even in a high-unemployment economy — to compete for recruits.

One example making recent headlines is the Air Force’s increasingly severe shortfall of fighter pilots. A new signing bonus totaling nearly a quarter million bucks (albeit spread over nine years), isn’t enough to compensate for starting salaries ($34,500 to $97,400) — not when the airlines are paying a median salary of $103,210 to commercial jet pilots. Nor are benefits like lower taxes and on-base housing.

“The military is difficult on the family with all the moving around,” Rob Streble, a former Top Gun and an official of the union that represents US Airways pilots, told The Los Angeles Times. “I added more stability by joining the airline.”

“People have no idea how hard it is when you have to move your family all the time,” admits John Wigle, a former F-15 pilot who is now a program analyst in the USAF’s operations, plans and requirements directorate.

Freedom was a determining factor for me.

The recruiter manning the desk at the Army Recruiting Office in Kettering, Ohio was way into me when I walked through the door at age 18. I had what they’re looking for: I was human, sentient, and ambulatory. I was also a catch: a straight-A engineering student who’d gone to an Ivy League school on full scholarship. When Reagan slashed financial aid for me and millions of other college students, I considered other options.

I aced the Army aptitude test. This didn’t surprise me, considering the lugs sitting in the test center next to me. Anyway, I test great. I drew the attention of a big über recruiter for the entire Midwest who wouldn’t stop calling. He made a lot of promises. We’ll fast-track you for officer! When you get out, we’ll pay your college tuition! What’s that, you want to draw cartoons for Stars and Stripes, just like Bill Mauldin during World War II? Sure, why not?

As a child of divorce, I’d learned to get promises in writing. Which, of course, military recruiters can’t and won’t do. (At the time, the Army paid “up to” $5,000 a year for college. Columbia was $13,000.) Sure, despite Reagan’s efforts, we weren’t at war. So getting killed was unlikely. But they could send me anywhere in the world, assign me to any job they wanted (from a military website today: “The Military will make every effort to match your interests and aptitudes with its needs. However, job assignments are ultimately made based on Service needs, as well as individual skills and test scores”), and the bottom line was, there’d be nothing I could do but salute and say yessir. That was the end of my flirtation with a military career. I wanted the basic freedom to choose where I lived and what I did for work.

I’m not alone. 89% of young Americans say they’d never consider a military career.

It will be a bummer for military officers, by temperament the biggest control freaks ever, but sooner or later they’re going to have to face reality: slavery is over. If you want to find quality sailors and soldiers, you have to treat them like adults. Let recruits choose their positions and where they live. Act like they’re workers. Which they are. For example, why can’t soldiers put in for vacation as opposed to applying for leave? If their chosen job is no longer needed, fine — they should be free to go. Yes, even during wartime — at least during the optional wars of choice the United States has fought since 1945.

During an invasion or serious attack against the U.S. by another nation, obviously, all bets are off. But don’t worry — that hasn’t happened since 1812.

(Ted Rall’s website is tedrall.com. His book “After We Kill You, We Will Welcome You Back As Honored Guests: Unembedded in Afghanistan” will be released in 2014 by Farrar, Straus & Giroux.)

COPYRIGHT 2013 TED RALL

SYNDICATED COLUMN: Editorial Cartooning, R.I.P.

photo copy

 

A Powerful Form of Journalistic Commentary Falls Victim to the Digital Dark Ages

This week I’m heading to Salt Lake City for an annual ritual that may soon come to an end: the annual convention of the nation’s top political cartoonists. This is bad news for my summers. It’s terrible for America, which is about to lose one of its most interesting art forms.

The AAEC convention is always a blast. Hundreds of intelligent, quick-witted and hilarious guys — sadly, it’s almost all men — talking politics, the media and culture, one-upping each other with one witticism after another, even during serious panel discussions and the you’d-think-it’d-be-deadly-dull business meeting. Partisan divisions fall away as drinks flow, gossip unfurls and jokes fly; one of my dearest friends is a conservative cartoonist.

Turns out, even the dumb editorial cartoonists are smart. The same men who crank out Uncle Sams and avenging eagles blasting feckless Talibs, cartoons choked with outdated labels and metaphors no one understands, turn out to be hilarious, funnier and a shitload smarter than the stand-up comics (hi, Louis C.K., hi Jon Stewart) we’re supposed to be worship these days. (Why the dumb cartoons? They say that’s what their editors want.)

Alas, editorial cartooning is dying in the United States. After decades of decline (punctuated by countless warnings), there are so few political cartoonists left that it’s hard to see how the Association of American Editorial Cartoonists can survive much longer. If the current trend continues, political cartoons — which are thriving in pretty much every other country on earth, helping to effect radical change in places like Syria, Iran and Spain — will disappear from the United States, which perfected the art form, at the peak of its golden age.

A hundred years ago, political cartoonists ruled the earth. Like dinosaurs. There were thousands of newspapers and thousands of cartoonists working at them. Bill Mauldin, Paul Conrad, Jeff MacNelly and Pat Oliphant were stars, boldface names. As newspapers declined, cartooning jobs vanished. In 1990 there were about 280 professional political cartoonists left. By 2000, roughly 80. Now less than 30. Many states don’t have one.

The layoffs continue. The Bergen Record just laid off Jimmy Margulies. He won’t be coming to Salt Lake City.

It’s the same story with syndication. It costs a paper about $15 or $20 a week for three to five cartoons by an award-winning cartoonist, but even that’s too much for cash-strapped newspapers. They’ve slashed their syndication lists. (They say they’ll use the savings to hire local cartoonists — but never do.) Many papers are doing without cartoons entirely.

In a field where bad news is the new normal, the New York Times’ 2012 request to cartoonists to produce hundreds of pieces a week for free stood out. Enough, we said. We refused. So the Times told us to take a walk. No other change at the Times has prompted as many reader complaints — but editors don’t care.

We joke — what else would we do? — that we should, like World War I veterans, go in on a bottle of champagne to be opened by the last man standing. Demographically and actuarially, that will be Matt Bors. At age 29, Bors is the youngest professional political cartoonist in the U.S. Despite the long hours he puts in supplementing his syndication income as an editor, blogger and freelance illustrator, he earns $30,000 in a good year. “I feel honored to be the youngest band member on the Titanic,” Bors says.

No wonder no one else wants to get into the field.

One of this year’s convention speakers is Victor Navasky, the author of a new book about political cartooning. Its subtitle references the “enduring power” of political cartoons. Yet Navasky mostly ignores developments since the 1980s, when Jules Feiffer and Matt Groening (“Life in Hell”) sparked the “alternative editorial cartooning” movement that includes artists like Bors, Ruben Bolling, Tom Tomorrow, Jen Sorensen, Keith Knight, Stephanie McMillan and yours truly.

American editorial cartoons have never been this smart, funny or relevant. Yet the best and brightest cartoonists of our generation are being pushed out of work because they can no longer earn even a meager income. In recent years talented cartoonists including Lloyd Dangle (“Troubletown“), David Rees (“Get Your War On”), Mikhaela Reid (“The Boiling Point“) and Tim Krieder (“The Pain—When Will It End?“) have called it quits because they couldn’t pay their bills.

The causes:

No jobs. No newspaper or magazine has hired a cartoonist from the new generation in more than 20 years.

Fewer opportunities. Fewer papers or magazines are running work by freelancers. Just last week, Time magazine quietly announced that it would no longer run cartoons. They’d been buying reprints for $20 each — a big change from 2001, when they were paying $800 to four artists, including me, for original content — but it was still too much.

Shrinking rates. The Village Voice, which gave Feiffer and Groening their starts, was famed for its cartoons. Groening got the Voice to pay $500 a cartoon in the 1980s. By the time I came on board in 1999, it was $100. Five years later, they slashed it to $50, take it or leave it. Now they don’t run comics at all. If I had a dime for every email I get from editors that start out “I’m a big fan of your work but I don’t have a budget for cartoons,” I’d be rich. Yet there’s always a budget for writers.

Censorship. It’s often what you don’t see that has the biggest effect. The cultural and political establishment has ruthlessly suppressed the new generation of cartoonists (I’d say young, but it’s been going on so long that some of these “new” cartoonists are over 50). You’d have to ask the gatekeepers why, but I suspect that our style (snottier, influenced by punk rock), politics (further left) and demographics (Gen X and Gen Y) are hard to relate to when you’re a Baby Boomer editor, producer, museum curator or book publisher. They don’t hate us; they don’t get us. So they don’t give us any play. (For example: Navasky’s book.) Which translates to less visibility and fewer dollars in our pockets.

There are bright spots. The liberal blog Daily Kos reposts edittoons. Nsfwcorp, a subscription-only print periodical, commissions original work, exclusive to them. But those are not nearly enough to sustain the medium.

Anyone who reads cartoons understands that they’re unique. Mixing words and pictures delivers commentary in a compelling, memorable way that prose — I say this a writer — can’t match. As editorial cartooning disappears, reformers lose an arrow in their quiver. Corrupt politicians and greedy CEOs get away with more.

The bloodbath in journalism in general and cartooning in particular is usually blamed on the Internet. Professional cartoonists work for newspapers and magazines; they’re forced to cut back as print display ad dollars are replaced by digital pennies. What revenues cartoonists can earn by selling directly to their readers — books, original drawings, merchandise — is getting sliced ever more thinly by online competitors: online meme generators, amateur webcartoonists, YouTube videos.

But that’s not the whole story.

At newspapers, cartoonists are the first fired, the last hired. When media gatekeepers — including those on prize committees — reach out to a cartoonist, they gravitate toward old-fashioned cartoonists who use hoary tropes like donkeys, elephants, labels and lots and lots of random crosshatching. Fetishizing the past is counterproductive because it discourages innovators. Also, it doesn’t work. Readers don’t respond. But editors blame cartooning as a medium when their real problem is their lousy taste in cartoons.

The New York Times Book Review is rightly skeptical about Navasky’s optimism about the future of editorial cartooning online: “An increase in distribution channels is not the same thing as a creative renaissance, and so far major online news sites have resisted the chance to hire their own political cartoonists.”

As a writer and cartoonist, I’m constantly looking for jobs. Sites like The Daily Beast, Salon, Slate and Huffington Post always post listings for writers. Lots of them. But they never hire cartoonists. From U.S. newspaper websites to the new Al Jazeera America, there’s lots of work for writers (albeit, for the most part, poorly paid). No one wants to hire cartoonists.

Why not? I don’t think it’s a conspiracy. It’s probably just groupthink coupled with a general lack of understanding of the “enduring power” of the medium. Newspapers first hired cartoonists because they were popular with readers. They still are. Portable electronic devices and the Web are quintessentially visual — duh — and cartoons — especially political cartoons — are massive clickbait with awesome viral potential. Someone at some point is going to re-figure out that people like comics. Then there’ll be a scramble to find edgy graphic content — comix journalism, editorial cartoons, animated cartoon videos — followed by the unwelcome discovery that due to years of censorship and impoverishment, there aren’t many cartoonists left creating professional work.

In the meantime, the Internet will continue to be something few people would have predicted: a sea of text as bland as the op/ed page of The Wall Street Journal.

(Ted Rall’s website is tedrall.com. His book “After We Kill You, We Will Welcome You Back As Honored Guests: Unembedded in Afghanistan” will be released in March 2014 by Farrar, Straus & Giroux.)

COPYRIGHT 2013 TED RALL