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Billionaires Who Promise to Save Journalism and Then Default: It Ought To Be a Crime.

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Ted Rall

Image result for first look media

Let’s talk about fraud: “a person or thing intended to deceive others, typically by unjustifiably claiming or being credited with accomplishments or qualities,” the dictionary calls it.

Let’s also discuss breach of contract. “A breach of contract occurs when the promise of the contract is not kept, because one party has failed to fulfill their agreed-upon obligations, according to the terms of the contract. Breaching can occur when one party fails to deliver in the appropriate time frame, does not meet the terms of the agreement, or fails to perform at all,” says a random legal website I googled. Sounds right.

Pierre Omidyar cofounded eBay. He became a billionaire at age 31 when eBay went public. Forbes says he’s now worth $12.8 billion.

As you know, journalism is in trouble. So it sounded almost too good to be true when Omidyar lured Glenn Greenwald, who famously received the Edward Snowden stash of secret documents that proved the U.S. government is spying on us, away from the UK Guardian in order to helm a new, fearless, left-leaning journalism organization by the name of First Look Media.

Best of all, Omidyar promised to fix the biggest problem faced by 21st century journalists: shrinking budgets. First Look Media, Omidyar said, would get a whopping $250 million in order to support “independent journalists in a way that leverages their work to the greatest extent possible, all in support of the public interest.”

Geld macht frei.

Watch this crazy announcement video from 2013. No, really, watch.

First Look Media, Omidyar promises in his video, would feature a “flagship” online magazine—The Intercept, edited by Greenwald—that would “cover news and stories from entertainment and sports to politics and business.” In addition, he pledged, there would be “a family of digital magazines.” (Spoiler: the sports, business and entertainment stuff never materialized.)

One of First Look’s “verticals,” in publishing vernacular, was to be called Racket, “a hard-hitting, satirical magazine in the style of the old Spy” to be edited by Matt Taibbi of Rolling Stone. (Disclosure: I met with Taibbi to discuss the possibility of working for him. Another disclosure: I talked to a reporter at The Intercept about covering my lawsuit against the Los Angeles Times. He was excited but went cold after he pitched it to his editors.)

According to Taibbi and also Greenwald, Taibbi chafed under Omidyar’s incessant micromanaging on everything from whom he could hire to where they would sit. Taibbi quit and returned to Rolling Stone. That was the end of Racket.

Then the fickle billionaire pulled the plug on his other playthings. “Omidyar made clear that there were no plans to launch any more digital magazines in the near term,” Greenwald wrote in 2014. First Look did pick up the cartoon site The Nib in 2016 and added the nonfiction storytelling publication Topic in 2017, only to cancel both and fire their staffs as part of “cost-cutting moves” in 2019.

Omidyar did not explain why an organization backed by a man worth $12.8 billion needs to cut costs, nor how he reconciles his fickleness with that I’ve-got-your-back video. Really, watch it! (To put this in terms a normal person can understand, if you’re worth $500,000, Omidyar’s $250 million pledge is equivalent to $9,000. If you have $500,000 and you can’t spare $9,000 you’re doing something wrong.)

Earlier this year, Omidyar decided to shut down First Look’s maintenance of the Snowden archive. Given that that trove was the company’s original raison d’être, alongside its dedication to investigative journalism, it left loyalists like First Look cofounder Laura Poitras scratching their heads. In March the company laid off its team of researchers.

The point of First Look, remember, was to give good reporters plenty of cash so they could focus on writing and research.

According to Columbia Journalism Review Omidyar has made good on just $90 million of his $250 million commitment. Which is still a lot of money, but it won’t last forever when you’re burning up cash paying exorbitant wages to editors like Greenwald. He collected $1.6 million between 2014 and 2017 while entry-level grunts are making do with $55,000 in a Manhattan where one-bedroom apartments go for $3,500 a month.

Left-leaning journalism types have been whispering about the shenanigans at First Look for years. But few are willing to speak out in public. Omidyar is powerful and wealthy. What if you might want to work for him someday?

Billionaires are purchasing social good will in the hope that they will be “credited with the accomplishments or qualities” of contributing to the “public good,” as Omidyar says in his over-the-top video.

And I’m fine with that—as long as they don’t breach their contract with the public. Omidyar promised us a passel of verticals/online magazines. Where are they? He promised journalists virtually unlimited freedom to investigate, travel, whatever it takes to do their jobs. Budget cuts and mass layoffs are a clear violation of that pledge. He cheated us. He should be held accountable.

Dr. Pat Soon-Shiong is another billionaire, this one from biotech, who has burnished his image as a savior of American journalism by purchasing The Los Angeles Times, the nation’s fourth-largest newspaper. Soon-Shiong is purportedly worth $7.1 billion.

But there’s already a stink, and I’m not talking about the smell of jet fuel raining down on the Times’ new low-budget office building in El Segundo, directly under the flight approach to LAX. The Times previous home was an art deco gem downtown on Times-Mirror Square. Why, one wonders, can’t a man worth $7.1 billion shell out the $50 million-ish cost of a downtown office building rather than move reporters a three-hour drive away from some parts of the city they’re supposed to be covering? (That’s $3,500 for someone worth $500,000.) Why do so many of his new hires skew so young, Millennial and thus so cheaply five-digit?

Despite slavishly sucking up to him in public statements, the union representing Times employees has been rewarded with contempt by Soon-Shiong, who refuses to negotiate in good faith.

Jeff Bezos, self-proclaimed savior of The Washington Post, has a similar attitude toward workers at his newspaper.

I don’t have a problem with derps derping, even when they’re running major news outlets. What seriously pisses me off is when those derps are billionaires who market themselves as saviors to be admired, when they’re anything but.

(Ted Rall (Twitter: @tedrall), the political cartoonist, columnist and graphic novelist, is the author of “Francis: The People’s Pope.” You can support Ted’s hard-hitting political cartoons and columns and see his work first by sponsoring his work on Patreon.)

 

Freedom of the Press? Not in the U.S.

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Ted Rall

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            The United States ranks 48th among nations for press freedom, according to Reporters Without Borders. Since few other countries have the equivalent of our First Amendment, learning that we rank below Botswana and Slovenia may come as a surprise.

Mostly the organization pins this dismal state of affairs on Trump’s attacks on the news media. They reference the White House’s revocation of CNN reporter Jim Acosta’s press card, the president’s “fake news” and “enemy of the people” jibes and his tacit approval of the grisly murder of Washington Post columnist Jamal Khashoggi by the government of Saudi Arabia. “At least one White House correspondent has hired private security for fear of their life after receiving death threats, and newsrooms throughout the country have been plagued by bomb threats and were the recipients of other potentially dangerous packages, prompting journalism organizations to reconsider the security of their staffs in a uniquely hostile environment,” reports RWB. (Cry me a river! I’ve received hundreds of death threats.)

Like most other mainstream analyses of the state of press, RWB focuses on how easy it is for large, corporate-owned media conglomerates with establishmentarian political orientations to do their jobs.

Independent journalists, especially those whose politics are left of the Democrats or right of the Republicans, have much bigger problems than deep-pocketed mega-conglomerates like CNN.

No consideration of freedom of the press in the U.S. is complete without a hard look at the case of Julian Assange. The founder and publisher of WikiLeaks is rotting in an English prison, awaiting extradition to the United States for possession and dissemination of classified information—exactly what The New York Times did when it published the Pentagon Papers and the Edward Snowden revelations. He is being “treated worse than a murderer, he is isolated, medicated,” says journalist John Pilger, who recently visited him. Incredibly, corporate media is siding with the Trump Administration, not merely ignoring Assange but mocking him and accusing him of treason (which is impossible, since he’s not American).

Censorship is insidious; readers and viewers can’t know what they’re not told. Almost as sinister as the persecution of Assange is the wholesale erasure of left-wing politics from U.S. news media. 43% of Americans tell pollsters they want the U.S. to become a socialist country. 36% of registered Democrats currently support self-described “democratic socialist” Bernie Sanders or Elizabeth Warren, whose campaign promises closely align to Sanders’.

The nation’s 1,000-plus newspapers employ countless Democrats and Republicans. But there isn’t a single staff columnist or editorial cartoonist who agrees with that 43% of the public that socialism would be better than capitalism. There isn’t a single one who says he or she supports Sanders or Warren.

Watch CNN, MSNBC, FoxNews and the other cable news outlets. Once in a very long while you might catch a token leftist joining a yakfest. You’ll never see socialist get a gig as a regular contributor, much less be asked to host a show. If you don’t think it’s weird that 43% of the country’s population is being censored, I don’t know what to tell you.

Pervasive among both corporate and independent journalists is self-censorship. Apologists say that freedom of the press doesn’t include the right to be published, and that’s true. Because journalists are like everyone else and can’t survive without earning money, however, the real-world practical effect of having to earn a living is that reporters and pundits have to watch what they say lest they become unemployable pariahs like I was after 9/11. “Sorry, man,” an editor I considered a friend told me after I asked him for work at his business magazine, “you’re radioactive.”

The Washington Post and other corporate news companies ridiculed Bernie Sanders’ recent assertion that Amazon CEO Jeff Bezos’ ownership of the Post influences its coverage. As Sanders noted, it’s not like Bezos calls Post editors to tell them what to print and what to censor.

Self-censorship is subtle. Post executive editor Marty Baron is technically correct when he retorts that “Jeff Bezos allows our newsroom to operate with full independence.” But he’s dodging the meat of the matter. Baron and other Post editors know who their bosses are: Bezos and, more generally, his allies in the corporate ruling class. No matter how much they protest that they can follow any lead and print anything they want, that knowledge of who butters their bread informs every move they make. It’s why, when the editorial page editor sorts through the day’s nationally syndicated political cartoons, he never ever publishes one from a left-wing political orientation, no matter how well-written or well-drawn it is. It’s why, when they’re hiring new staffers, they never hire a leftie. They’re smart enough not to bite the hand that feeds them. It’s also why the person making that hiring decision is not himself or herself one of the 43%.

I’m more audacious. Yet I too know not to go too far.

I’ve learned that I can draw a cartoon or write a column criticizing “free trade” agreements without fear of getting fired or assassinated. There is also no fear that it will be published by a corporate newspaper—so why bother? Over the long run, I have to give editors material they want to publish; if I send out too much stuff about a verboten topic like free trade I’ll lose clients.

Most people who hear about my defamation lawsuit against the Los AngelesTimes support me. But most people don’t hear about it for a simple reason: when one member of the press is besieged—especially when it’s justified—the others circle the wagons. Reporters for The Washington Post, The New York Times and fake-left outfits like The Intercept contacted me eager to write about how the LAPD pension fund bought the Los Angeles Times in 2014 and then ordered the paper to fire me because I criticized the police in my cartoons. (It’s still legal for the the cops to buy a newspaper.) Invariably they went silent after talking to their editors.

Corporate gangsters stick together.

As I said, I’m not that brave. My editor didn’t tell me about the LAPD deal with the Times. I assume she didn’t know. If she had called and said “hey, lay off the police, they own us now, draw about something else,” I would have. I have to make a living.

48th? When it comes to press freedom, the U.S. is benefiting from grade inflation.

(Ted Rall (Twitter: @tedrall), the political cartoonist, columnist and graphic novelist, is the author of “Francis: The People’s Pope.” You can support Ted’s hard-hitting political cartoons and columns and see his work first by sponsoring his work on Patreon.)

Ted Rall v. Los Angeles Times: What You Need To Know

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Ted Rall

My lawsuit against the Los Angeles Times is a long, complicated story. The following is an attempt to bring you up to speed in digestible form.

I became the staff cartoonist of the Los Angeles Times in 2009. Unbeknownst to me, in 2014 the LAPD Pension Fund became the biggest shareholder of Tribune Publishing, parent company of the Times. No one at the Times told me to lay off cartoons about the cops, probably because my editors too were unaware of the secret deal. In 2015 the Times fired me at the request of the LAPD.

The LA Times’ Nutty Audio
I was walking from a Bill Maher show taping to dinner in West Hollywood in October 2001 when an LAPD motorcycle officer confronted me, handcuffed me and roughed me up, drawing a crowd of passersby. He wrote me a ticket for jaywalking. I had not been jaywalking. I filed an Internal Affairs complaint about the false arrest but nothing came of it.
Image result for charlie beckIn July 2015 a LA Times reporter informed me that the officer had secretly audiotaped my arrest, that the LAPD (actually, it was Police Chief Charlie Beck, see below) had given the Times (actually, to publisher Austin Beutner, see below) the tape and that the tape showed I had lied about being handcuffed and mistreated by the cop in a 2015 blog that was posted with a cartoon that I did for the Times about an LAPD jaywalking crackdown.
The sound quality is atrocious. It’s 6-1/2 minutes of static, wind and traffic noise. There is evidence that it was spliced or otherwise tampered with. The LAPD audio neither confirms nor denies my account, which was truthful. Nevertheless, the Times decided to terminate me AND to publish a libelous “Editor’s Note” to readers intended to destroy my reputation as a journalist so that I would never work again.
I had the audio “enhanced”—cleaned up so that voices and other sounds could be heard. The enhancement confirmed my version of the encounter, including a woman shouting “Take off his handcuffs!” at the officer. I sent the vindicating evidence to my editors at the Times. They ignored me.

The Times Doubles Down
Three weeks passed. During this time, pressure built on the Times to reverse their decision. Journalistic organizations, Times subscribers commenting on their website, letter writers and social media from left to right urged the Times to reinstate me. They refused questions from reporters at other press outlets, censored the letters and shut down online comments at latimes.com. Thanks to the enhanced audio, the Times knew it had libeled me in the Editor’s Note. Rather than issue a retraction and offer me back my job, the Times issued a second article, this one by the Times’ ombudsman, that doubled down on the allegations from the first article, which they knew to be false.

My Lawsuit
I waited seven months for the Times to do the right thing. Finally, in 2016, I sued the Times, its parent company Tribune, and four individuals for defamation and wrongful termination. I am determined to defend my reputation against these scurrilous smears.

Here are the individual defendants:

Austin Beutner
Image result for Austin BeutnerTimes publisher at the time, hedge-fund multi-billionaire Austin Beutner was subsequently fired by Tribune for trying to orchestrate an inside-the-boardroom coup. Beutner secretly met with LAPD Chief Charlie Beck, who subsequently resigned in disgrace. At this meeting Beck handed Beutner the audio recording from 2001. Beck demanded that I be fired for criticizing the police in my cartoons; Beutner, Beck’s political ally and a man who’d like to run for mayor or governor, complied. (The Times still hasn’t told readers where the audio came from.) Beutner is currently the superintendent of the Los Angeles public school district, the largest in the country. His refusal to give teachers a raise prompted an acrimonious walkout by educators.

Nicholas Goldberg
Image result for nick goldberg la timesTimes editorial page editor Nicholas Goldberg, a middle manager, appears not to have been trusted with inside knowledge of the high-level conspiracy between Beutner and Beck. It’s hard to know anything for sure before the courts grant discovery, but Goldberg’s role was likely limited to that of hatchet man: his by-line is on the Editor’s Note.

Paul Pringle
Image result for paul pringle la timesBypassing Goldberg, Beutner probably assigned Times investigative reporter Paul Pringle to look into my story. Pringle informed me that the LAPD was accusing me of lying and questioned me at length about what happened the evening of the jaywalking arrest. Pringle, who worked the “cop shop” beat for years and thus spent a lot of time with police, made clear that he believed the cops, not me. Among other silliness, he asked why the low-quality audio didn’t contain the sound of my driver’s license (made of paper) hitting the ground after the officer tossed it or the click of the handcuffs going on. He also wondered why there was no sound of me arguing with the officer; I repeatedly explained that I was compliant, that I don’t argue with cops. In order to determine the authenticity of the LAPD audio, he told me, he asked the LAPD if it was legitimate. Pringle won the 2019 Pulitzer Prize for Investigative Journalism.

Deirdre Goebel Edgar
Image result for deirdre edgarUntil 2018 Deirdre Goebel Edgar was the “Reader’s Representative” of the Times. The reader’s representative is the ombudsman of a newspaper; though paid by the paper her duty is akin to Internal Affairs at a police agency: to make sure the paper is upholding journalism’s highest ethical standards in service to readers. Indeed, in 2014 she authored the Times’ Ethical Guidelines. Among other things, the guidelines require that the subject of a critical story be interviewed at length, in person, to give their side. Edgar wrote the second “doubling down” article in 2015 smearing me as a liar. She did not contact me.

The Times Hits Me With an Anti-SLAPP Motion
Image result for kelli sagerCalifornia’s anti-SLAPP (strategic lawsuit against public participation) law was designed to stop individuals and whistleblowers from being slammed by big corporations like real estate developers out to crush community activists by tying them up in court with frivolous defamation claims. After I sued the Times, Kelli Sager—a high-powered $715/hour attorney employed by such reputable enterprises as the National Enquirer to fend off legitimate libel lawsuits—hit me, a fired $300/week cartoonist, with an anti-SLAPP motion alleging that I was using my power and influence to deprive the Times of its First Amendment free speech rights. The Times is currently owned by Dr. Pat Soon-Shiong, who is reportedly worth $7 billion. Soon-Shiong gets a lot of good press that he doesn’t deserve; he has continued to employ Sager.
Before the case begins, the anti-SLAPP motion must be resolved. First up: the trial court.

Superior Court
At trial court in Los Angeles, the Times filed a motion for summary judgement against me, arguing my claim to be frivolous. The judge at the time, who retired a few months later, denied the Times’ motion.
Switching tacks, Sager filed a motion demanding that I post $300,000 cash bond to guarantee the Times’ legal fees in the event that it won anti-SLAPP and won a judgement that required me to pay the Times’ attorneys’ fees, because I live in New York and not California. The judge knocked it down to $75,000. Hundreds of people contributed to my GoFundMe. I posted bond. Every year I pay the bond company $1250 to hold the money.
After a blizzard of stalling tactics by Sager, Judge Joseph Kalin heard the anti-SLAPP motion in 2017. Just days before the second and third of three anti-SLAPP arguments, attorney Carney Shegarian abruptly fired me as his client. I do not know why. I quickly found a new attorney but Judge Kalin ruled that I had to represent myself against Sager in oral arguments.
Anti-SLAPP requires judges not to assess the evidence, but to assume that all the claims are true to see if the complaint has any merit. Kalin assessed the evidence, agreed that the audio enhancement showed I was innocent, and nonetheless ruled against me. He ordered me to pay the Times $330,000 for Sager’s fees.
I appealed.

Court of Appeal
Earlier in 2019 the Court of Appeal, also in Los Angeles, heard my appeal. Like Kalin, the Court of Appeal ignored the anti-SLAPP rule about assessing evidence. During oral argument Justice Elizabeth Grimes, seemed shocked when my attorney Jeff Lewis brought it up. Grimes ruled for the Times.
I appealed. The California Supreme Court accepts fewer than 5% of petitions for review so I was pleasantly surprised when they agreed to hear my appeal. Seven major First Amendment organizations issued amicus letters supporting my appeal to the state Supreme Court.
My petition was a “grant and hold,” which means it’s tied to the outcome of a related case, in this situation Stanley Wilson v. CNN. Wilson claims he was wrongly terminated and defamed by CNN as a ruse, with the real reason being race discrimination.

California Supreme Court
The high court ruled in favor of Wilson in a ruling that urges lower courts to grant discovery in anti-SLAPP cases, something that was denied us. As we petitioned and against long odds–they reject more than 95% of appellants–the court remanded us back to the Court of Appeal with instructions to rehear us in light of Wilson.
A favorable ruling by the Court of Appeal would mean that the $330,000 judgement would be erased, we can begin discovery and, four-plus years after the fact, the actual case would commence.

Political Cartooning Was Murdered. Here’s the Autopsy.

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Ted Rall

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A century ago newspapers employed more than 2000 full-time editorial cartoonists. Today there are fewer than 25. In the United States, political cartooning as we know it is dead. If you draw editorial cartoons for a living and you have any brains you’re working in a different field or looking for an exit.

You can still find them online so political cartoons aren’t yet extinct. But they are doomed. Most of my colleagues are older than me (I’m 55). As long as there are people, words and images will be combined to comment on current affairs. But the graphic commentators of tomorrow will be ad hoc amateurs rather than professionals. They won’t have the income and thus the time to flesh out their creative visions into work that fulfills the medium’s potential, much less evolves into a new genre.

With zero youngsters coming up in the ranks and many of the most interesting artists purged, our small numbers and lack of stylistic diversity has left us as critically endangered as the wild cheetah. The death spiral is well underway.

June 2018: The Pittsburgh Post-Gazette fired Rob Rogers, a 25-year veteran, for drawing cartoons making fun of President Trump. (Rogers had always been a Democrat.)

January 2019: Steve Benson, the widely-syndicated winner of the Pulitzer Prize, was fired by the Arizona Republic after three decades of service.

            May 2019: Gatehouse Media fired three cartoonists on the same day: Nate Beeler of the Columbus Dispatch, Rick McKee at the Augusta Chronicle and Mark Streeter at the Savannah Morning News.

June 2019: In one of the strangest offings, the New York Times fired both of its cartoonists, Heng and Patrick Chappatte, in order to quell criticism over a syndicated cartoon—one drawn by an entirely different cartoonist. The Syrian government thugs who smashed Ali Ferzat’s hands with a hammer in 2011 were more reasonable than editorial page editor James Bennet; the goons only went after the actual cartoonist whose cartoons offended President Bashar Assad. Nor, by the way, did the Syrian dictator ban all cartoons. Political cartooning is now and forever banned from the 100%-censored Times.

And of course in 2015 the Los Angeles Times, whose parent company had recently been purchased by the Los Angeles Police Department pension fund, fired me as a favor to a prickly police chief because he was angry at my cartoons. In 2018 the same paper fired cartoonist David Horsey for the crime of accurately describing White House press flak Sarah Huckabee Sanders’ looks as those of a “slightly chunky soccer mom.” As at a Stalin-era show trial, they forced Horsey to apologize before giving him the boot.

Individual cartoonists are under fire around the world. Only in the United States, “land of the free,” has the art form as a whole been targeted for systematic destruction by ruling elites and cultural gatekeepers. After decades of relentless, sweeping and never-reversed cutbacks there are now far more political cartoonists in Iran than in the United States. After terrorists murdered 12 people at Charlie Hebdo, a single publication in France, hundreds of U.S. newspapers ran editorials celebrating the power of cartoons; 99% of these hypocritical blowhards didn’t employ a single cartoonist.

American editorial cartooning didn’t just die. It was murdered.

Here’s how it happened/it’s happening:

Cartoonists were overrepresented in mass layoffs. Publishers fired numerous journalists. But they always came first for the cartoonists.

Scab syndication services undercut the market. A few discount syndication companies, one in particular, sold bulk packages of heavily discounted hackwork, undercutting professionally-drawn cartoons.

Publishers killed the farm system. The early 1990s marked the start of a vibrant new wave of “altie” political art by Generation Xers. Urban free weeklies carried our work but deep-pocketed dailies and magazines refused to hire us. Gifted young cartoonists realized they’d never be hired and abandoned the profession.

Social media mobs spook editors. Twitter and Facebook make it easy for six angry dorks to look like thousands of angry readers ready to burn down a newspaper over a cartoon. Cowardly editors comply and sack their artist at the request of people who don’t subscribe to the paper.

Prize committees reward(ed) bland cartoonists. Throughout the 1990s and 2000s, Alties like Tom Tomorrow, Andy Singer, Clay Butler, Ruben Bolling, John Backderf and Lloyd Dangle were reinventing American political cartooning. Their revolution would not be recognized. The Pulitzer Prize committee snubbed alties. (Though some have been finalists—me in 1997—no altie has won a Pulitzer.) Among the older traditional cartoonists as well, prizes usually went to safe over daring. Awards signal what’s acceptable and what’s not. Editors pay attention. It’s a self-reinforcing cycle.

Legacy employers blackballed edgy cartoonists. Click data proves that controversy is popular. Faced with shrinking circulation, however, print newspapers and magazines played it safe and avoided controversy. Kowtowing to advertisers rather than the readers who drive circulation, publishers fired the controversial cartoonists—the ones whose work readers were talking about—first. Another self-fulfilling prophecy: the dull cartoons Americans saw in major outlets like USA Today elicited little response from readers. They weren’t missed after they vanished.

Billionaire newspaper “saviors” refuse to hire cartoonists. When billionaires buy papers they invest in reporters and editors. Not cartoonists. One exception is Sheldon Adelson, who hired Mike Ramirez at the Las Vegas Review-Journal. But 90% of Warren Buffett’s Berkshire Hathaway-owned newspapers employ zero cartoonists. Patrick Soon-Shiong bought the LA Times after they fired Horsey and me; his paper hired a bunch of underpaid Millennial writers but never replaced or brought back the two cartoonists. To his credit Jeff Bezos kept Tom Toles and Ann Telnaes on at the Washington Post, but he hired “dozens of reporters”—and no one new to draw cartoons. (Historically many newspapers have employed multiple cartoonists.)

Twee identity-politics cartoons are boring. Boosters sometimes point to sites for Millennial cartoonists as a bright spot. For the most part, these cartoons are flat, preachy and predictable. Right or left, political correctness is death to political cartooning.

Online media sites refuse to hire cartoonists. News sites like Huffington Post, Salon, Slate and Vox are heirs to print newspapers. None employ cartoonists. Don’t they realize theirs is a visual medium?

Cartoonists fulfill the market for crappy cartoons. Editors, publishers and award committees have made clear what kind of cartoons they are most likely to buy and reward. Jokes should be conventional, preferably derivative. Sacred cows must not be criticized. Patriotism is mandatory. Artistic styles remain frozen safely in the 1960s, when most editors were kids. Cartoonists have a choice: give the marketplace what it wants or go hungry. Many cartoonists produce work they know is beneath their talents, readers don’t react when they appear in print and no one takes note when the cartoonist gets laid off.

I love editorial cartooning. All I ever wanted to do was draw for a living. When I was growing up, political cartooning was clever and dangerous. Punk rock.

Now it’s Muzak.

Muzak is dead.

(Ted Rall (Twitter: @tedrall), the political cartoonist, columnist and graphic novelist, is the author of “Francis: The People’s Pope.” You can support Ted’s hard-hitting political cartoons and columns and see his work first by sponsoring his work on Patreon.)

Full Text of Index on Censorship Amicus Letter

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Ted Rall

Index on Censorship, the prestigious UK-based free-speech organization, has joined six US-based pro-press freedom organizations to oppose the LA Times’ four-year campaign of harassment and libel against me, trying to ruin me because I offended their then-business partner and part-owner, the Los Angeles Police Department, with my cartoons. Here is the complete text of the IoC letter.

 

Full Text of National Writers Union Amicus Letter

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Ted Rall

The NWU has joined six other free-speech organizations in supporting my lawsuit against the LA Times with an Amicus Letter to the California Supreme Court. It is so great to see people stepping forward and standing up against billionaire Dr. Pat Soon-Shiong, whose LA Times is bullying me on behalf of the Los Angeles Police Department.

Here is the text of their letter:

Full Text of Project Censored Amicus Letter

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Ted Rall

Here is the complete Amicus Letter filed with the California Supreme Court, opposing the LA Times’ attempt to destroy my career because I criticized the LAPD, which owned the stock of their parent company.

Text of CRNI Amicus Letter

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Ted Rall
The Cartoonists Rights Network International compares what the LA Times did to me to repression in Turkey, Malaysia and Equatorial Guinea.
 
Here is the complete letter CRNI was kind enough to send to the California Supreme Court in opposition to the LA Times’ motion that I pay billionaire Dr. Pat Soon-Shiong (owner of the Times) hundreds of thousands of dollars in legal fees.
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