Pat Oliphant | Ted Rall's Rallblog

Trump Gets Away with Stuff Because He Does

November 30, 2019•

Image result for trump no apology

“I could stand in the middle of Fifth Avenue and shoot somebody and I wouldn’t lose voters, okay?” Donald Trump said at an Iowa campaign rally in January of 2016. That remark gets quoted, mostly by liberals bemoaning the unquestioning loyalty of the president’s stupid supporters, a lot.

But there’s another, more interesting, facet of that meme: Trump, it’s clear, can get away with just about anything—impeachment included. He will be impeached without turning a single voter against him.

Nothing has ever been less deniable than the president’s imperviousness to, well, everything. Trump’s haters hate it, his fans love it, everyone accepts it. A month ago Trump’s lawyers for real argued in open court that, if their client actually were to go on a shooting spree in midtown Manhattan, he couldn’t be charged with a crime until he was no longer president.

Without enumerating President Trump’s rhetorical offenses and deviations from cultural and political norms, how does he get away with so much? Why doesn’t he lose his base of his electoral support or any of his senatorial allies?

It’s because of framing and branding. Trump isn’t held accountable because he has never been held accountable. He has never been held accountable because he has never allowed himself to be held accountable.

Hitler believed that, in a confrontation, the combatant with the strongest inner will had an innate advantage over his opponent. Audacity, tenacity and the ability to keep your nerve under pressure were essential character traits, especially for an individual up against stronger adversaries. Trump never read “Mein Kampf” but he follows the Führer’s prescription for success. He never apologizes. He never admits fault or defeat. He lies his failures into fake successes, reframing history into a narrative that he prefers. It’s all attitude: because I am me, I can do no wrong.

I’m not a billionaire real estate grifter turned billionaire presidential con man.

But I get this.

When I began my career as an editorial cartoonist, I staked out ideological territory far to the left of my older, established colleagues, most of whom were ordinary Democrats. In the alternative weeklies, other cartoonists were as far left as me. But they weren’t syndicated. I went after mainstream daily newspapers. My first two syndication clients were the Philadelphia Daily News and the Los Angeles Times.

My status as an ideological outlier reduced the number of newspapers willing to publish my work. But the editors who did take a chance on me knew what they were getting and so were able to defend me against ideological attacks. Once they saw that braver papers were publishing my cartoons, moderate publications picked them up too.

Despite being an unabashed, unrepentant leftist, I became the most reprinted cartoonist in The New York Times. Secretly, many of the “Democratic” cartoonists were as left as me. They were jealous: how had I gotten away with wearing my politics on my sleeve in such bland outlets as The Des Moines Register and The Atlanta Constitution?

First, I was willing to take some heat. I accepted that I would get fewer clients and thus less income. I insisted on drawing the work I wanted to do, never watering down my politics. If everyone rejected me, that was fine. Better not to appear in print than to do wimpy work. And in the long run, I was better off. There have been rough patches. But progressives have taken over the Democratic Party. I’m one of the few pundits the left can trust for a simple reason: unlike Bill Maher and Arianna Huffington, I have always been one of them, regardless of prevailing winds.

Second, I developed an unusual drawing style. When I started out most editorial cartoonists mimicked two icons of the 1960s and 1970s, Pat Oliphant and Jeff MacNelly. The “OliNelly” house style of American political cartooning was busy, reliant on caricature and crosshatching. Daily newspaper staffers drew single-panel cartoons structured around metaphors, labels and hoary symbols like Uncle Sam, the Democratic donkey and Republican elephant.

I did everything the opposite. I drew multiple panels, wrote straightforward scripts inspired by comic strips. My drawing style stripped down to a brutally simple abstract look in which most characters looked almost identical. No metaphors—you didn’t need to learn how to read a Ted Rall cartoon. They weren’t as pretty as MacNelly’s. The chairman of the Pulitzer committee, whose death I shall toast, denied me the prize because I didn’t “draw like a normal editorial cartoonist.” But you knew my stuff wasn’t by anyone else. Branding.

I created space for myself ideologically and stylistically. So I got away with—still get away with—more than many of my peers.

Finally, I learned to never apologize.

Most of the time when a cartoonist apologizes for causing offense, they don’t mean it. Their editors, themselves feeling the heat from an avalanche of letters-to-the-editor and social media opprobrium, force them to say they’re sorry. This I will not do. It’s too undignified.

Sometimes cartoonists really do screw up. In one particular cartoon I took aim at the president and instead wound up wounding a group of disadvantaged people. So I acted like a human being: I apologized.

What a mistake! Papers that had stuck with me through previous controversies abandoned me, canceling my work. The group I’d apologized to proclaimed itself satisfied and appealed to the quislings to reconsider, in vain. I learned my lesson. Never apologize, especially when you’re wrong. Americans forgive evil, never weakness.

With his far longer reach, influence and experience than yours truly, Donald Trump has figured out how to carve out room for himself to run off at the mouth, offend protected groups and defy cherished traditions. No one can make him stop. No one but him. And no one can make him say he’s sorry.

(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.)

SYNDICATED COLUMN: Want to Support Free Expression After Charlie Hebdo? Hire a Political Cartoonist.

January 12, 2015•

Ted Rall

Here’s what you need to understand the state of political cartooning in the United States:

After the massacre of four cartoonists at Charlie Hebdo last week, 25 remain on staff at the French publication, whose circulation ranges between 30,000 and 60,000 per week.

In the United States, a total of 25 staff political cartoonists are employed by the nation’s 1,350 newspapers, which have a combined circulation of 44,000,000 daily in print, plus 113,000,000 unique online visitors.

The total number of political cartoonists employed on staff by all American websites is one.

The total number at all magazines is zero.

It wasn’t always like this. According to a report issued by the Herblock Foundation, there were 2,000 political cartoonists on staff at newspapers a century ago.

Sure, print media has had to cut back due to a half-century of declining circulation. Writers, photographers and others have all suffered. But cartoonists have been eliminated at the highest rate of any journalism category by far: 99%.

New online media outlets like the Huffington Post, Salon, Slate, Vox, Yahoo News and The Intercept have hired hundreds of journalists — yet no political cartoonists.

There are more political cartoonists working in Iran and China than here.

Why has the U.S. become such a satirical desert?

In candid moments, editors confess that they’re afraid. They’re scared of angry emails from readers. (Prose doesn’t elicit as much reaction.) They’re worried their boss’ country-club buddies will complain about a cartoon. They’re terrified that a major advertiser might cancel its account. Narrowing profit margins and post-9/11 conservatism have amplified editorial cowardice.

When cartoons make the headlines, like last week, it’s another story.

News outlets couldn’t get enough political cartoons post-Charlie, noted Tjeerd Royaards, editor of the Dutch cartoon web magazine Cartoon Movement. (Disclosure: Cartoon Movement has published my work.) But they wanted it all for free: “the majority of media website[s] simply embedded the cartoons from the[ir] Twitter feed[s], foregoing the courtesy of asking the artists for permission to show their work, let alone pay for it.”

Royaards continued: “Although the media certainly seemed to wholeheartedly support cartoonists in the wake of the [Charlie Hebdo] attack, this support proved to be dubious, and might even be considered a greater threat to political cartooning than any terrorist attack could ever hope to be.”

Writing about the state of the profession this week, my colleague the alternative political artist Mr. Fish painted an even bleaker portrait of the future:

“The significance of those [declining cartoonist job] numbers might best be understood when compared to the dwindling numbers of an endangered species, not unlike the polar bear, who draws worldwide sympathy primarily when pictured drifting forlorn and alone on a shrinking block of ice or lying skinless and butchered by mindless thugs on a crimson bank. Likewise, it should be noted with some urgency that something systemic in the culture (similar to global warming, corporately inspired, government subsidized and willfully ignored by a disempowered public) is substantially diminishing the cartoonist population and threatening the very survival of the rendered word and the contemplative caption — and the very essence of creative dissent.”

Mr. Fish’s biological metaphor is an apt one.

Over the past few decades we have warned editors that we were in trouble. It’s worse now.

We are probably already past the tipping point after which political cartoonist extinction becomes inevitable.

One major threat is the loss of artistic diversity. In the same way that insufficient genetic diversity can cause a species to enter a death spiral — the cheetah is a famous example — American political cartooning no longer has enough practitioners to grow via cross-pollination, by being influenced by and against one another the way that I, for example, saw the work of the cartoonists Mike Peters and Pat Oliphant in the 1970s and wanted to ape the first and rebel against the latter. Most working political cartoonists in the U.S. are over age 55. So many have been laid off or discouraged that, even if I were given a zillion dollars to hire all the best cartoonists left, I’d have trouble finding 10 or 20. A profession that offered a dazzling variety of styles as recently as 2000 looks increasingly cut-and-paste.

There are only two basic styles left: the older, crosshatched, donkeys-and-elephants single-panels influenced by the late Jeff MacNelly, and the wordier, multi-panel approach that emerged in alternative weeklies during the 1990s.

Getting back to the polar bear analogy, there aren’t enough “newborn cubs” — young political cartoonists in their 20s — to form the roots of the next wave of political cartoonists if and when editors gain the courage to start hiring. Aside from the fact that there’s no way for a young political cartoonist to earn a living, young adults don’t see political cartoons in the media they consume.

The top websites read by Millennials, like Vice, Upworthy and BuzzFeed, refuse to hire political cartoonists. You can’t get inspired to pursue a profession if you don’t know it exists.

What to do?

I’m hoping for greed. Nothing gets clicks like a political cartoon. At some point, some twentysomething editor at a news start-up is going to figure that out.

(Ted Rall, syndicated writer and cartoonist, is the author of the new critically-acclaimed book “After We Kill You, We Will Welcome You Back As Honored Guests: Unembedded in Afghanistan.” Subscribe to Ted Rall at Beacon.)

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

June 24, 2013•

Ted Rall

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.)