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Opinion: People love cartoons,
so why let them go?

October 13, 2013 in Comment, General

Cartoon by Tony Reeve

Private Eye cartoon © by the late Tony Reeve

Nick Newman, cartoonist, PCO member and editor of Private Eye: A Cartoon History, writes for the Procartoonists.org blog:

The sound of 1,000 people laughing out loud at cartoons from Private Eye: A Cartoon History left me feeling elated as I departed from the Cheltenham Literature Festival.

The town hall, the largest venue in town, was packed to the rafters by a sell-out crowd of unlikely Eye fans on a Monday afternoon.

The demographic was definitely more staid than I’d expected, and I wondered how some of the Eye’s more risqué gags would fare on the big screen. I needn’t have worried. Alexander Matthews’ bishop saying of his choristers “God, it’s like everyone I’ve ever slept with is here!” raised the roof, as did Tony Reeve’s little girl saying to woman washing up “Mummy, why are your hands so soft?”, ” I’m twelve”.

Afterwards, the audience was fulsome in their praise and voted with their wallets by buying stacks of books. The story was the same at the Henley Literary Festival, the Soho Literary Festival and the National Theatre. People love cartoons – and not in a wry, chucklesome sort of way; in a roaring boom of belly laughter.

My euphoria was short-lived – returning to London to hear that four of my cartoonist newspaper colleagues had been axed for budgetary reasons. Two of these were the same cartoonists whose work was met with such a rapturous reception on the literary circuit.

Times are, of course, very hard for print journalism – hacks too are being laid off in their droves – but at the same time that newspapers are shedding freelancers, the online departments are desperately looking for ways to enliven the dull, digital, monotonous “swipe-me” editions.

There, the backlit cartoons look bright, cheerful and vibrant. But cartoonists have to be employed in order to do the job and getting rid of exclusive visual content surely can’t be the answer to attracting digital readers.

A week of contrasts left me feeling that the game is up for print journalism, if the demands of the digital age have left papers so strapped for cash that they can’t afford humour and creativity – assets desperately in short supply on Fleet Street.

And if newspapers let them go, it will not be because readers don’t appreciate them.

They do. I’ve heard them. In their thousands.

Editor adds: Many thanks to Nick. He and Ian Hislop, the Private Eye editor, will be doing another talk at the V&A on 19 November. He suggests that anyone wanting to hear how much people like cartoons should go along.

Special report: 50 years of cartoons in Private Eye

September 27, 2013 in Events, General, News

Left to right: Nick Newman, Ian Hislop and Richard Ingrams

Fans of Private Eye cartoons were in for a treat this week, as editor Ian Hislop and cartoonist Nick Newman took to the stage for two separate events looking back over 50 years of visual humour in the magazine – where they picked out a few favourite gags and discussed the challenge of selecting the cartoons that make it into the magazine.

Monday night saw the pair speak to a packed auditorium at the National Theatre on London’s South Bank. On Thursday, they were joined for their appearance at the Soho Literary Festival by Richard Ingrams, Hislop’s predecessor at the Eye and now editor of The Oldie.

The talks were scheduled to coincide with the launch of Private Eye: A Cartoon History, a handsome new hardback book edited by Newman and containing more than 1000 of the best cartoons published by the magazine over the last five decades. Ingrams was promoting his latest collection of Oldie cartoons, also published this month.

© Ed McLachlan @Procartoonists.org

Hislop and Newman began their National Theatre talk by looking back at some of the Eye cartoons that have gone on to become classics, including drawings by Willie Rushton, Martin Honeysett, Michael Heath, John Kent and Ed McLachlan (above). They observed that cartoons became increasingly surreal and absurd during the 1970s – with the giant hedgehog being a case in point – and Newman noted that many of the best political cartoons have not made it into his book because their impact has been lost over time.

Libby Purves, the journalist, broadcaster and Procartoonists.org patron, was on hand to steer the conversation. She pointed out that there still seems to be life in cartoonist cliches such as the desert island and the suicidal man-on-ledge. Hislop agreed, observing that “Private Eye is nothing if not repeated jokes with slight twists.” He referred to two recent psychiatrist’s couch gags, both by Procartoonists.org member Royston Robertson, which played with the formula and made it into the magazine.

More generally, Hislop praised gag cartoonists for their ability to distil their observations of the world around them into pithy and memorable scenes. “They’ve observed it, frozen it, and made it more or less permanent,” he said.

© Alexander Matthews @Procartoonists.org

The issue of ‘bad taste’ was raised when a cartoon by PCOer Alexander Matthews (above) was met by explosive laughter – and some gasps. Purves asked where Hislop draws the line when it comes to offending his readership.

“I always have to be able to justify it – to myself, if to no one else,” said Hislop. “And sometimes there are things that might offend people, but that you think just have to be said. We got a lot of complaints about this cartoon, but I just thought it was incredibly funny.”

Newman explained to the crowd that a cartoonist’s life can be defined by whether he or she is able to cope with having most of their work rejected on a regular basis. He also agreed with Purves’ observation that there are fewer high-profile markets for cartoons these days, following the demise of Punch and with newspapers not currently running standalone gags.

Hislop said that “without Matt, The Telegraph would be in real trouble”, and argued that readers would welcome non-topical joke cartoons in the newspapers. “Editors are missing a trick; cartoons are not expensive,” he said, turning to Newman with a threatening grin before adding: “and they’re getting cheaper next week!”. We hope he was joking.

***

“I’ve got a much smaller book, but it’s also a lot cheaper,” said a deadpan Ingrams of his Oldie paperback collection, when he joined the others on stage at the Soho Theatre on Thursday. “Nick’s book is terribly good, but you can’t take it into the toilet – my book you can.”

The presence of Ingrams at this second talk meant more anecdotes about the 1960s satire boom – for example that it was Willie Rushton who persuaded Gerald Scarfe to stop drawing desert island gags and have a go at caricature.

But Ingrams was also keen to talk about the current crop of cartoonists, and his slideshow of gags from the Oldie book included one or two from younger talents, among them the cartoon below by Procartoonists.org member Huw Aaron.

© Huw Aaron @Procartoonists.org

Hislop explained that the sheer number of cartoons flooding in to the Eye means he is required to make quick decisions over what to publish.

“When I choose cartoons, I think ‘is that funny?’, rather than ‘is it beautifully drawn?’,” said Hislop. Ingrams agreed, but added that the drawing itself should be amusing, not simply the idea behind it.

“Cartoonists don’t realise that they’re probably the most important part of a magazine,” said Ingrams, citing a recent readership survey in which roughly 80% said that cartoons were their favourite part of The Oldie.

Both talks were packed and the audiences were extremely appreciative, filling the room with laughter at pretty much every cartoon shown – and with several jokes even eliciting a round of applause.

***

Also this week, Private Eye launched Newman’s book with a party at Kettner’s in Soho attended by Eye staff and dozens of the magazine’s cartoonists. A great night was had by all and it was an excellent opportunity for the cartoonists to mingle and swap stories.

Private Eye cartoonists at the book launch party © Philippa Gedge

More images from the party, by photographer Philippa Gedge, can be seen here. Head over to the BBC for a slideshow of selected cartoons from the new book.

On behalf of its members, Procartoonists.org would like to thank Private Eye and offer a toast to the next 50 years.

 

The Round-up

September 1, 2013 in Events, General, Links, News

© Stanley Franklin @Procartoonists.org

Cartoons of Margaret Thatcher – including The Pit and The Pendulum by Stanley Franklin, above, has been showing at Leeds Gallery over the summer. Read a review of the exhibition here.

The British Cartoonists’ Association is on the lookout once again for Young Cartoonists of the Year and will now also accept digitally produced artwork (although a hard copy must be submitted). Find out more about how to enter the contest here.

Artwork from Procartoonists.org member Hunt Emerson‘s adaptations of The Rime of the Ancient Mariner and Frankenstein will be exhibited by The Wordsworth Trust in Grasmere, Cumbria, for one month from 4 October. Read more at downthetubes.net.

Procartoonists.org member Steve Bell discusses his depictions of US presidents in this audio interview and transcript.

Those interested in going behind the scenes with cartoonists and illustrators should check out both The Tools Artists Use and 20 Questions With Cartoonists.

The Oldie, one of the most high-profile markets for UK gag cartoonists, has reached 300 issues. Richard Ingrams, founder of the magazine and former editor of Private Eye, looks back on his time with both organs in this piece from The Telegraph. A new Oldie Book of Cartoons is released next month.

Also due to land on bookshelves and coffee tables in September is Private Eye: A Cartoon History. Edited by longtime Eye man Nick Newman, the book will feature more than 1,000 gags from the past 50 years. It certainly looks jam-packed, if these sample pages are anything to go by.

Ed adds: Late entry from Sarah McIntyre, aka @Jabberworks, at the Telegraph: Comic adventures for kids of all ages.

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