THE BEST WE COULD DO, by Thi Bui and published by Abrams ComicArts, is one of those rare graphic novels with an in depth family theme. This sort of book belongs in the select group of titles like PERSEPOLIS and FUN HOME. In fact, you usually need to turn to the superhero genre, with all its universes and lineages, to find a story in comics that focuses on anything remotely to do with family. I say this tongue-in-cheek but it’s fairly true. Anyway, anytime you add family, you are likely adding something interesting to your story. What happens in Bui’s graphic novel is thoughtful, funny, and totally interesting. When was the last time you read an epic saga about a Vietnamese family? Well, this fills that void in a very compelling way.
Page excerpt from THE BEST WE COULD DO
Thi Bui studied art and law, thought about becoming a civil rights lawyer, but became a public school teacher instead. Someone with that kind of background is just the sort of cerebral and sensitive type of person who gravitates to creating comics. Bui was born in Vietnam and arrived in America with her family as a refugee from the Vietnam War. Her immigrant experience, without a doubt, is part of a continuum that will outlive our current political machinations. This is a story that goes beyond that and addresses the struggles that any family will confront as one generation must come to terms with another. It is also a story about finding one’s self both within and outside the context of family. As Bui discovers, close proximity to family does not necessary mean close ties to family.
Page excerpt from THE BEST WE COULD DO
Overall, Bui has adopted a solid alt-comics approach to her work. It has that intimacy and spontaneity that evokes work coming out of a sketchbook. While Bui is not a career cartoonist who has honed years of experimentation with comics, she provides an engaging and polished style. It will be interesting to see if she chooses to further develop her work in the comics medium. She has created a beautiful book.
Page excerpt from THE BEST WE COULD DO
“The Best We Could Do: An Illustrated Memoir” is a 336-page hardcover available as of March 7th. For more details, visit Abrams ComicArts right here. You can purchase through Amazon right here.
Anyone interested in illustration, art, satire, or the specific art of drawing, will know something about the career of Edward Sorel. The work of Edward Sorel covers a wide spectrum resulting in a hefty portrait of the human condition, with a notable eye to speaking truth to power.
My interest in Edward Sorel runs deep. I checked out from my school’s library Sorel’s 1972 collection, “Making the World Safe for Hypocrisy.” It was 1973 and I was a sensitive and highly impressionable lad of 10 years-old. I was filling sketchbooks with portraits of Watergate personalities, both villains and heroes. I tore into that book and marveled over Sorel’s distinctive crosshatching and his lively expressive line work. I was in awe with how he brought to life various dignitaries, politicians, and movie stars. The gold standard had been set in my mind and it hasn’t changed ever since. What really wows me now goes back to my early introduction to the work of Edward Sorel.
Quotes from reviews for Mr. Sorel’s new book, “Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936,” published by Liveright/W.W. Norton & Company:
“Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to ‘Moose Murders.’ Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. Not only does he then write a terrific book, but he illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading, but in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny, and in the end, touching.”
—Woody Allen, The New York Times Book Review (cover review)
“Rapier-sharp…With a tip of his pen to Daumier, the artist evokes the quaint, febrile glamour of Astor’s Hollywood, and his affectionate, conversational prose gives Mary and her story a kind of valiant dignity never bestowed while she lived.”
—Edward Kosner, Wall Street Journal
“Delightful, colorful, and occasionally cheeky.”
—Allison Sadlier, Entertainment Weekly
From “Mary Astor’s Purple Diary” by Edward Sorel
Edward Sorel (born Edward Schwartz, 26 March 1929, The Bronx) has recently released a book from Liveright/W.W. Norton. The book, entitled “Mary Astor’s Purple Diary” is about his lifelong obsession with film star Mary Astor but it’s also a memoir of a sort. You may have read Woody Allen’s review of the book in The New York Times Book Review. Allen had the honor of introducing many new readers to the opening story in the book: It is 1965 and Edward Sorel, newly married and settling into new digs, is left with the task of replacing the old linoleum kitchen tile. Lo and behold, buried underneath is a stash of old newspapers chronicling the scandalous 1936 custody battle of Hollywood star Mary Astor. Well, the rest is history and this most engaging book.
I interviewed Mr. Sorel this last Wednesday, February 8th. I hope you enjoy it.
HENRY CHAMBERLAIN: Turning our attention to Mary Astor, what is intriguing about her is that she had a life where one plus one kept equaling three. Despite a series of bad choices, whether in lovers or career options, Mary Astor managed to persevere. Is that part of the appeal, that she took such an offbeat path?
EDWARD SOREL: The appeal came when I read her memoir. She was a self-denigrating and witty writer. Very observant. Somewhat cynical about Hollywood. She had an intelligence that appealed to me. Then I started seeing her movies and I was hooked on her. Her bad decisions that you refer to have to do with having had an abused childhood, not in any physical way but in a mental and psychological way.
Her father kept her from having friends because he didn’t want her to see how Americans lived, how Americans treated their children. He wanted to be the dictator of his home. And he succeeded. She was unable to break free from him until quite late in her life. And it kind of ruined her. And God knows she made a lot of terrible mistakes in her life.
Marry Astor and John Barrymore.
I was watching 1924’s “Beau Brummell” and I am intrigued by the relationship Mary Astor developed with her co-star, John Barrymore, of all people. In their case, the twenty year age difference was inappropriate. However, it was what it was. And it was through Barrymore that Mary Astor learned a lot and gained self-confidence.
He did do her a lot of good but not for any altruistic reasons. He was out to nail her. He was on his way to Hollywood on the 20th Century Express. He had just completed the most successful run of “Hamlet” that America had seen. He was acclaimed as America’s greatest actor. He was on his way to the coast to make “Beau Brummell” for Warner Bros. because they were paying him a lot of money. And he picks up a magazine that has a photograph of Mary Astor about the age of 16 and under the photograph it said, “On the Verge of Womanhood.” Barrymore had a particular liking for virgins.
As I pointed out in the book, it was Barrymore who had his way with Evelyn Nesbitt, who later married Harry Kendall Thaw. And it was Thaw who shot Stanford White, America’s great architect, because he thought Stanford White had taken his wife’s virginity–when, in fact, it was Barrymore. That is a sidebar I’m proud of since I pieced together that bit of information.
According to Mary Astor, Barrymore really believed that he was going to marry her. And maybe he did plan to. But when Mary would not break free from her parents, after Barrymore offered her starring roles, because her father forbade it, Barrymore realized that she was just a child. She was completely under the sway of her father. Marrying a woman twenty years younger was one thing but marrying a child was something else. He broke her heart by calling it off.
I think it’s a cartoonist thing, as I’m a cartoonist, that we keep seeking out the offbeat. So, in the spirit of that I throw out a curveball, and ask you about your changing your last name to Sorel. You are referring to Stendhal’s “The Red and the Black.” I loved that book and the main character, Julian Sorel. Is there something interesting going on there with that connection?
I liked to think that I saw myself in Julian Sorel because he was like catnip to women, which I really wasn’t, and he hated the corrupt society of his time, as I hated mine. The first election that I voted in was the one between Eisenhower and Stevenson. I took a dim view of both of them and voted for a third party.
The other thing about Julian Sorel was that he hated his father. God, I certainly hated mine, not only because he tried to discourage me in wanting to be an artist but because he was a mean-spirited ignorant man not kind to my mother, not kind to anyone. And I didn’t want anything to do with him. I was going to be a cartoonist and I didn’t want to sign my name, Schwartz, in the right-hand corner. And I chose the name, Sorel, because of the novel. It seemed as good a name as any.
“Stagecoach.” 1980 illustration for Esquire magazine.
I think back to myself as a boy wondering about how you created your work. You’ve spoken about “finding lines.” Could you share a little bit about that?
When you work commercially, and you’re taking assignments, you have to show the art director what you plan to do. So, you do sketches of the drawing you plan to do. And, after a while, I began to notice that my sketches had more vitality and life than my finishes did. My finishes were often dead and overworked. And so I tried to emulate the quality that I had in my sketches which meant doing it without tracing. In point of fact, that’s impossible to do if you’re doing very complicated scenes. You can work direct if you’re doing a face, a figure, a still life, or anything relatively simple. You can work direct without tracing and the work has a vitality to it. But when you’re doing complicated scenes, with many different elements, you really do have to know where you’re going. So, I found out that if I just had a light outline of where I wanted the elements to be, and didn’t trace, I could keep this sketchy quality that I think gave my art work some distinction.
“The Goodwood Races,” 1939, by Feliks Topolski (1907-1989).
That quality of your art has influenced so many artists, whether they realize it or not. And, certainly, there have been other artists who have used an “expressive line.” You have talked about some of your favorites, like Feliks Topolski. There’s a certain sensibility that you both share.
Yes, well, he wasn’t trying to be funny like I always have. But his work has spontaneity, which I value in every artist. Wether its Bemelmans or Topolski. What shocks me now is to find so many artists who enjoy doing art work with a computer. I’ve seen some very nice computer art. You can get that nice flat color and can do all sorts of tricks that you can’t do by hand. But, to me, it doesn’t seem like fun. It seems like working on a machine. I just love the act of drawing. I’m a throwback. Most of the illustrations that you see today in magazines, and God knows you don’t see too many, are computer-generated in some form or another.
One compromise is for the artist to draw some of the illustration by hand, scan it, and do the rest on a computer.
It doesn’t seem fun to me but it must seem fun for them. I don’t cast aspersions on their way of doing it.
I think it boils down to being a time-saver. And, once a routine has set in, that’s the way it’s done and that’s it.
The other thing about computer art is that there’s nothing original, nothing to hang on the wall. You could have a show but it would only be prints. To each his own.
“Pass the Lord and Praise the Ammunition,” 1967, by Edward Sorel
I wanted to touch on one of the all-time classics, your 1967 anti-war illustration, “Pass the Lord and Praise the Ammunition.” The real life punchline there is that you were all set to roll out a poster when the focal point of the piece, Cardinal Spellman, passed away rendering your satire unsellable. Now, there’s some divine intervention.
The day it came off the press is the day he died. It never sold in any store in America. It is in a museum in Amsterdam. One store in Chicago tried to sell it and had its window broken. Apparently, Cardinal Spellman had some fans in Chicago. That was a bad break. You get some bad breaks and you get some good ones. I was the recipient of Woody Allen’s praise on the front page of The New York Times Book Review. That was the best break I ever had.
From “Edward Sorel: Nice Work If You Can Get It,” 2011, by Leo Sorel.
I encourage everyone to check out the short film on you that your son, Leo, did. That is quite informative and a treat. It shows you in your studio. And then the Q&A afterward with illustrator James McMullan is very impressive. Towards the end of that, you talk about the pen you favor, a Speedball B6. I’ve always had a devil of a time with steel point dip pens. But the Speedballs I could manage. And then you flip it backwards to get the crosshatching.
Yes! That was my secret. The Speedball does move and it allows you to be kind of spastic over a piece of paper.
“Nixon and Mao,” 2007, The New Yorker.
I wanted to ask you about Donald Trump. There was that drawing of him as Medusa you did last year. The big news at the moment is all about Mitch McConnell silencing Elizabeth Warren. I could see that as perhaps triggering an Edward Sorel drawing.
I can’t cope with Donald Trump. I haven’t done political cartooning in a number of years. I can’t deal with him. With all other presidents, you could make fun of their hypocrisy and have fun with them. But Mr. Trump is kind of crazy. And he’s dangerous. He’s cruel. Making fun of him doesn’t seem what’s called for. It’s trivializing him. He shouldn’t be trivialized. He’s really a danger. People are really scared. They wake up with Donald Trump on their mind and they go to bed with him on their mind. He’s a heavy presence in our lives now. I don’t know how to deal with that.
You can’t call him the new Nixon. At least with Nixon, there was a mind at work. It’s being very generous, but there was some sense of integrity compared to Trump. Nixon you could call a president. But, with Trump, he’s president only by title.
He seems unhinged. I think it was Bernie Sanders who called him unhinged. He seems too crazy to be in that office. I don’t know what else to say about him.
Donald Trump illustration, 2016, for Vanity Fair.
Especially living it right now. It is stomach-turning. I won’t talk about him anymore. But I do need to mention Melissa McCarthy’s impersonation of Sean Spicer. Have you seen that?
No, tell me about it. I’ve been trying to avoid the news lately.
Well, Melissa McCarthy is a comic genius and she was on Saturday Night Live last weekend. She did a spot on impersonation of Sean Spicer, had the look and mannerisms down.
Oh, wait, I did see that! A friend sent that to me.
I think that has the power of a political cartoon and then some. It captivated everyone. It was an emotional release for everyone to see that.
Yes, I’m sure it was. It was very funny.
It seems to me that every artist needs a hero, someone to play off of. I see your book, weaving your life with Mary’s, as following the artist’s struggle. I think of how Mary evolved. I think of how Mary and Bette Davis were able to rewrite “The Great Lie,” turning that around into a notable film.
She did become a very fine actress. But she also became a little bit like her father, terribly obsessed with money. She twice turned down contracts for starring roles since she believed supporting roles would provide a longer career. She did indeed have a long career. She was in over 100 movies. And she was going strong until about 1959. She didn’t take chances. Maybe she didn’t believe she was a good enough actress. She missed having a chance at great roles and great performances. That was too bad.
My obsession with her has to do with my thinking I wasn’t a great artist because I didn’t have an obsession. So, I was very grateful when people called my interest in Mary Astor an obsession. Yes, it was an obsession and I do think it helped produce my best work.
“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” by Edward Sorel
Can you tell us about your connection with Boston University?
I was very lucky to have Boston University buy my entire work, my oeuvre, as we say. In March, they’re having a retrospective of all my work and, as a matter of fact, I’m still packing up things to send there.
The Howard Gottlieb Center at Boston University has one of the finest collections from all walks of life. They have the second largest Martin Luther King collection. They have many of America’s great writers. They have Fred Astaire and Ginger Rogers. They have most of the actors and actresses from the golden age of Hollywood. I’m very delighted to be part of this collection.
Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.
I heard a siren in the background. It brings back my visits to New York. You are a lifelong New Yorker and I know how much you love New York. Could you share some of your thoughts on the city?
I do love New York. I don’t love the crowds anymore. I do worry. When you live in a city like New York, you do begin to see a kind of science fiction future: crowds everywhere, lines everywhere. New York is kind of becoming that. They keep building these enormous skyscrapers without thinking about how the city will accommodate it. They’re not building out, like they did in Los Angeles. They’re building up. It used to be that the only crowds were in midtown but now crowds are all over. And you find yourself walking in the gutter because there’s too many people on the sidewalk.
So, yeah, I love New York. The New York that I grew up with, where the museums were free and everyone went to public school, seems to have vanished. Everything is expensive now, including the museums. It’s very difficult for young people. When The New York Times that I used to buy for three cents is now $2.50, The New Yorker which I used to buy for ten cents, is now something like $7, it’s bizarre. And, of course, the wages that young people get are pitiful. So, yeah, I love New York but I don’t like the time particularly.
Is there anything else that you’d like to add?
I can tell you about my next book. It’s going to be similar in structure to the Mary Astor book. It’s going to be a memoir. It will be about my growing up in New York. And it will be about the thirteen presidents that I’ve lived through.
My point is that every one of these presidents, whether I liked them or not, committed illegal acts, overthrew governments illegally, and did unconstitutional things. Starting with Dwight D. Eisenhower, who became enamored with Billy Graham. It was through those machinations that they put “In God We Trust” on our currency and inserted “Under God” in our oath of allegiance. Somehow, I regard that point in history as the slope we’ve been sliding ever since.
Now, it’s done so garishly with someone like Trump.
Right. Trump, the great Christian, who apparently was much loved by the Bible Belt. I don’t think there’s anything more derogatory I can say about organized religion than that they were responsible for the election of Donald Trump.
Is part of the new book you’re working on sitting on your drawing board?
Not yet. A little bit is sitting on the computer. Nothing has been drawn yet.
I wish you well on that. It’s been exciting and quite a treat to get a chance to talk with you for a bit.
“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” is a 176-page hardcover, with full-color illustrations, published by W.W. Norton & Company. For more details, visit W.W. Norton & Company right here.
As the Trump era unfolds, the opposition unfolds too. From USUncut:
Some of these numbers are subject to change, but the historically massive scale of this protest can not be denied. The protests in Washington D.C., Chicago, Los Angeles, and New York City alone totals over 2 million people. Over 670 marches took place worldwide, with thousands of people also taking part in demonstrations in Tokyo, Dublin, Capetown, Paris, Vienna, and Yangon, to name a few.
You’ve seen TED talks on YouTube, right? You can always go right to the source at TED.com. If you’re unfamiliar, TED stands for Technology, Entertainment, and Design. TED began in 1984 as a conference that today covers just about any topic. These are powerful short form talks in more than 100 languages.
Considering the “Greater Than” theme
Have you ever gone to a TED event? Well, there are a number of these around the world. I went to an independently run TEDx event here in Seattle. You can discover more about TEDx Seattle right here. With a zeal to learn and a trusty notepad, Jen and I took in a day of TED talks. For fans of TED talks, you can imagine how cool that is!
KCTS, a proud sponsor of TEDx Seattle
This is the first year for TEDx Seattle, formerly known at TEDx Rainier. This last Saturday, we settled into our seats at McCaw Hall at Seattle Center and were utterly delighted with each presentation: from Ranae Holland, a biologist-turned-reality TV star on the hunt for Bigfoot all the way to Suzanne Simard, a forestry expert advocating for all us to address climate change.
The theme for this event was “Greater Than,” an umbrella concept that reinforces our sense of community which is greater than the sum of its parts. The talks were further divided into sessions: curiosity > assumptions; future > today; together > alone; and > sum of the parts.
We had stopped by Stumptown Coffee Roasters on Pine and overheard a couple of young women. One said to the other: “And you can spend your whole life in public service, like Hillary, and still lose to a man!” That’s a good sense of what clings to the air and will remain in the air for years to come. So, heading to our TEDx event seemed like quite a fitting place to be: a place to try to make sense of the rifts and the shifts we are currently experiencing.
I was curious about how each talk would act as a thread to a larger conversation. Can we answer the big question, How do we all come together? Celeste Headlee, a longtime host at National Public Radio, made the case in her talk that we are far more isolated than we may realize. The healing won’t take root, said Headlee, until we respect each other and form authentic bonds. That struck a positive and constructive chord that reverberated throughout the conference.
Scott Wyatt talks about urban density.
As the day progressed, Jen and I got really caught up in the talks. In fact, there were so many ideas presented that it is a bit overwhelming to attempt to recap everything and do it justice. I will focus on just a few with some brief comments. Scott Wyatt, a partner at architecture firm NBBJ, hit the nail on the head regarding the critical mass we have reached as a crowded city. Part of the solution is to adapt and that is what Wyatt covered. With more and more of us shoulder to shoulder, it compels us to find ways to live in harmony.
Another compelling talk was on artificial intelligence presented by Oren Etzioni, an entrepreneur and AI researcher. His main point was that the robots are not coming for us and never will. No, it’s quite the other way around. It is up to us to embrace the new tech as it is ultimately there for us and to help us come together.
Eliaichi Kimaro. Illustration by Henry Chamberlain.
Eliaichi Kimaro presented an outstanding talk on her journey of self-discovery. Given the opportunity and the motivation, Kimaro found herself making her first documentary without any prior filmmaking experience. She set out to tell the stories of her ancestors in Tanzania. What she came back with were stories that would summon deep reserves for healing and transformation. Her wish for all of us is that we flood the world with our stories. You can visit the website for Kimaro’s film, “A Lot Like You,” right here.
We also greatly enjoyed the talk by Judge Wesley Saint Clair who has some impressive ideas on providing options for youth who find themselves in criminal court. No, he said, this is not a Hug a Thug program. Instead, it is a no-nonsense program that provides these youth with an opportunity to become part of the community. It was a moving talk and the judge deserves all the support he can get.
We ended the day on a high note with Suzanne Simard, a professor of Forest Ecology at the University of British Columbia. Her talk covered the intricate and complex nature of ecosystems. Simard made clear that climate change is very real. Ultimately, we all must come together, as Simard stated, not only for our sake but for the sake of our planet Earth.
In these uncertain times, we can always count on brave and thoughtful people to speak the truth.
There is one way out of Trump Nation and that involves galvanizing the individuals chosen to be electors to vote their conscience. Everyone who wants to make a difference, go out and protest and focus on one key message: “Electors, Do The Right Thing. Vote for Hillary Clinton.” Will that work? Hell, yes! That’s working with what you’ve got, within the system. In the United States, we have an electoral college system created by the Founding Fathers of this country. The idea is to assure equal representation between all states.
However, it is possible within this system to end up with one candidate receiving the popular vote while the other candidate ends up receiving the higher number in electoral votes. Here’s where it gets very interesting: according to the Constitution, chosen electors of the Electoral College are the real people who will vote for president, when they meet on December 19 in their respective state capitals. And you can reach out to them now and ask them to vote for Hillary Clinton. The message can be general as well as specific to each elector. Seek them out. Follow these steps right here.
Tell your electors, your fellow Americans who will cast the final vote on Dec. 19th, to vote their conscience.
Take it the streets, take it to social media, tell your electors, your fellow Americans who will cast the final vote on Dec. 19th, to vote their conscience. That’s the only route that could prevent Trump Nation. If only the Founding Fathers were here, I am sure they’d agree. It is the only way to turn it around given that Hillary Clinton won the popular vote by 200,000.
EDITOR’S NOTE: As of November 19th, according to new figures released by The Associated Press, Clinton received more than 1.5 million votes than her Republican rival. Clinton received 63,390,669 votes, while Trump received 61,820,845 votes — a difference of 1,569,824, according to The AP. Rounded off to whole numbers, that translates to 48 percent vs. 47 percent.
It’s worth a try, isn’t it? If ever there was a time to break the glass and go for the emergency hatchet, this is it. The Founding Fathers would give that a thumbs up. Trump is a product of the media. So, go out and spread the word to the media. Tell the talk show hosts. Tell anyone who will listen. That’s the best thing I can think to do right now.
For more information, visit change.org. You can sign a petition that will go directly to the Electoral College Electors. Just visit change.org right here.
I bring to your attention a funny and thoughtful comic with a cannabis theme that I’m excited about. You can support the Kickstarter campaign running thru August 31st right here. The project’s creator, Jeremy Myers, has found a sweet spot for comics and cannabis fans alike with this mashup of humor, horror, and political commentary. Cannabis and comics do indeed mix, going at least as far back as the Sixties underground. Here is a new generation’s turn.
Rep. Katherine Clark of Massachusetts was fed up with the ritual in Congress of a moment of silence followed by no further response to the latest mass shooting in America. She approached civil rights icon Rep. John Lewis of Georgia. Lewis responded with organizing a classic sit-in. This time it would be inside the well of the House of Representatives, something never done before. And so history is being made. The Democrats are now galvanized and vow to continue the fight. Moving forward, spreading the word about the issues involved is crucial and Brave New Films is one great resource.
Rep. Katherine Clark teamed up with Rep. John Lewis for the sit-in. –Katherine Clark / Twitter
Brave New Films is doing its part to spread awareness with its own Gun Safety campaign running since 2014. You may think you know the story but the facts will speak for themselves:
On January 5, 2016, President Obama announced executive actions aimed at expanding background checks. That same day, Smith & Wesson’s share prices rose to a record high of $25.86* a share.
Eleven days ago, 49 people died and 53 were injured in Orlando Florida, the 133rd mass shooting this year. As of yesterday, Smith & Wesson shares are up 19%** since Orlando.
Smith & Wesson is MAKING A KILLING, and they are not the only ones. The NRA, gun manufacturers and the politicians they pay are all guilty of greed.
Since launching our Gun Safety campaign in 2014, we have reached millions of people with our content. Because of your support and the thousands of supporters like you sharing and contributing, the narrative of our work is developing the connection for the mainstream media to see how greed is making us all less safe.
Will you donate $25 right now so we can continue to create content that activates millions? With every donation, big or small, you make an impact.
Content like this piece released yesterday and already reaching 210,000 people and counting. #NoBillNoBreak
The mainstream coverage of #NoBillNoBreak is promising. Now is the time to keep making the connection between the business of selling guns and the politics that allow an industry that fuels 133 mass shootings in less than half a year to keep making billions in profits. Together, we are reframing the gun debate because the right to safety should always triumph over greed.
(Why did the above train wreck of an answer from Donald Trump not derail the Trump campaign? The nuclear triad is basic knowledge but Trump had no clue.)
I write to you because you are in a unique position as someone a whole lot of people admire and trust. You’re a smart and capable person. Otherwise, why should I even bother? Alright, that said, I would like you to seriously consider pushing harder on Donald Trump as he edges closer and closer to a viable occupant of the White House. What do you think?
You played a hard-hitting journalist on “House of Cards.” Let’s do this in real life, “for reals,” as the kids say. You were interviewed on your own show, “Good Morning America,” about what was real on “House of Cards” and you responded that nothing on that show is real. Nothing? Not even being a hard-hitting journalist? Oh, the irony! Say it ain’t so, George!
Do you want to be like most of the American media and keep throwing softballs to Donald Trump? Why, George, why? Would you like to say that I am being naïve about this? Don’t worry, George, I know about your very special connection to the Clintons. That is hardly a secret, am I right? Nudge, nudge, your secret is good with me. Actually, just go for it, no need to be loyal to anyone. Be hard-hitting with your questions to Hillary too.
Here are some great examples to consider:
4 November 1979: Roger Mudd, CBS News, presses Edward Kennedy on why he is running for president and Kennedy, while eloquent, does not seem to warm up to his answer:
11 September 2008: Charles Gibson, ABC News, asks Sarah Palin about the Bush Doctrine, keeps his focus, and it quickly becomes apparent she does not know what the Bush Doctrine is:
30 March 2016: Chris Matthews, MSNBC, engages Donald Trump in conversation to reveal that Trump believes women should be punished for having an abortion:
Each of these interviews became a news story in its own right.
Focus every ounce of journalistic integrity you may have and help to steadily bring down Trump. He is such an easy target. Why not do this, show Trump for what he is, an ignorant irresponsible demagogue. Worth a try, don’t you think?
If you are scratching your head and wondering how to do this, which is highly doubtful, just press him the next time he gives a messy, uneven, and thoroughly unacceptable answer to a question. Yes, Trump has given some really odd responses comparable to Sarah Palin at her worst. (See the above video displaying Trump’s utter ignorance of the U.S. nuclear triad and his attempt to cover himself.) So, just keep that in mind. Trump can easily be toppled. Are you game? Surely, you have nothing to lose except perhaps some rating points but that is really Trump’s biggest bluff of all. It worked out alright for NBC when it fired him.
Here is what you do when you start to lose your nerve, just repeat to yourself this refrain, “Trump is not the boss of me! Trump is not the boss of me!” That may seem silly but I think it could work and you will help save our country from a Trump administration. Look, Katie Couric decided she just wasn’t going to go all warm and fuzzy on Sarah Palin and, well, you know, the rest is history. Check out the video below: here is a typical interview between you and Trump. You’ll note that when Trump feels the heat, he’ll deflect with a vague, “We’ll see what happens.” Or if called out on a fact, he’ll double down on his answer and just move on. Next time, don’t let him just move on. Act like you did when you played a hard-hitting journalist on “House of Cards.” And, by the way, Trump should never have been allowed to phone in his interviews.
Lastly, put out of your mind any blowback from Trump. Oh sure, it will sting, whatever he does, whether in person or later on Twitter. But it is only a brief and temporary sting. Stay focused. Be friendly and respectful going into an interview. But at some point, George, pivot to the tough questions. Once you’ve caught him, don’t let him off the hook. Go to it, George!
“Bernie,” the new graphic biography by Ted Rall, published by Seven Stories Press, is a brilliant portrait of the celebrated iconoclast. Following up on his graphic biography of Edward Snowden, Ted Rall has found a kindred spirit in Bernie Sanders. Something broke in the American political system at the end of the Sixties and we have been grappling with that ever since: the demise of liberal activism and the ascent of corporate influence. We see that debate raging in this year’s presidential campaign. Hillary Clinton represents the centrist Democrat; Bernie Sanders represents a way back to progressive values. Rall not only makes a case for Sanders but, in the process, shows us how far afield the American political system has gone and why it is vital to regain balance.
Ted Rall and Bernie Sanders both do not mince words and get to the point: the American middle class is being shrunken out of existence. The American political system is out of whack. Billionaires rule. The common man is left out in the cold. So, where do we go from here? Whatever your political affiliation, it is hard to make a case for the established way of doing things. Rall begins by looking back at how we got where we are. Rall points to the death of American mainstream liberalism with the stunning and utter defeat of Democrat George McGovern to Republican Richard Nixon in 1972. From that point forward, Democrats made a decided turn to the center right. Not only did Democrats abandon pursuit of social programs and saving the environment, they found themselves scrambling to hold onto past accomplishments. In the meantime, the right-wing of the Republican party became toxic.
In the spirit of America’s robust liberal history, there emerges a voice that finds many ears, Bernie Sanders. Rall makes the case that with the Great Recession, Bernie Sanders and his vision, is more relevant than ever. Rall’s simple drawing style is quite effective in keeping to a steady pace. As always, he cuts to the chase and provides numerous examples to make his point. Rall speaks eloquently to anything an Occupy Wall Street protestor might want to share with the public.
In the end, as divisive and distracting as politics is, there are some humbling facts to consider. Does anyone really want to see their government in the hip pocket of big business and needlessly avoiding investing in its citizens and infrastructure?
Rall makes a strong case for a Bernie Sanders candidacy and what it means. Even if establishment Democrats are resistant, Sanders is paving the way for a return to progressive values. Sanders isn’t planning to change the Democratic Party but his involvement now, in 2016, is the start of a new wave of involvement. Whatever the outcome, the rise of Bernie Sanders is significant.
“Bernie” is a 205-page paperback available now. For more details, visit our friends at Seven Stories Press right here.
How important is the truth to you? In the new graphic biography, SNOWDEN, published by Seven Stories Press, Ted Rall presents to us not only the story of a whistleblower but an American intelligence system gone haywire. In Orwellian fashion, your laptop, home computer, smartphone, or television screen are being used as monitoring devices. As Rall states, “The National Security Agency’s goal is to gather every fact, every communication, about everybody on Earth.” And despite the best efforts of Edward Snowden to expose the abuse of power, the NSA continues to pretty much do as it pleases. Unlike the media’s personality-driven story, this story is only partly about a whistleblower.
Ted Rall is known for his provocative political cartoons. For this book, he aims for clarity and a step-by-step approach. He does not draw horns and a tail on each of the bad guys. He tones it down for the sake of better conveying the facts. It’s a delicate balancing act as he goes about describing the enormity of the abuse, impressing upon the reader the large number of people who knew about it but remained quiet, and attempting to paint a portrait of the ideal personality to blow the whistle.
Given the number of key facts that need to be presented in an organized, and accessible fashion, Rall does a supreme job of giving the reader a primer on how their privacy is being violated and why a young man named Edward Snowden deserves to be given a chance to make his case.
The pace of the narrative is just right. It amounts to a panel per page. You feel a serious urgency tempered by a steady hand. It seems like each page has boiled down what it has to say to a very compelling level. Many pages can easily act as memes. One excellent example focuses on the duplicitous testimony before Congress by Director of National Intelligence James Clapper. He makes the ridiculous distinction that it’s alright to store an innocent person’s data as long as it’s not read.
Ted Rall has never drawn a convincing portrait of anyone. His depictions don’t really resemble Barack Obama, Hillary Clinton, or George W. Bush as much as look like a bunch of generic meat puppets. That helps create enough of a distance when dealing with these political fixtures. Maybe this story was a little different as it sees a former boy scout and defender of country turn into the most wanted man on the planet. Rall seems to have been moved by that fact.
We mostly see Snowden depicted pretty much like any other Rall character but, at times, there is a less rushed, more careful, depiction. And, without a doubt, there is a certain specificity, and even warmth, for his cover art portrait of Edward Snowden. I think that was essential and will help draw readers into a most compelling read.
SNOWDEN is a 224-page trade paperback, published by Seven Stories Press, and available now. You can find it at Amazon right here.