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The article focuses on the editorial cartoonist of the general commercial newspaper called Algemeen Handelsblad in Amsterdam, Netherlands, Fritz Behrendt. It mentions that Behrendt is not content with mere angry words since his effort is dedicated to excise international growth. It notes that his works appears regularly in 40 papers from West Germany to Japan, including two in New York such as the Herald Tribune and the Sunday Times.

Reports that Egypt's newspaper `Al Ahram' has pulled out the drawings of syndicated editorial cartoonist, Ranan Lurie, in response to a campaign waged by rival publication `Rose al-Youssef.' Allegations that the cartoonist took part in the massacres of Egyptian soldiers during the 1967 Mideast war.

Reports that editorial cartoonist Bill Day is returning to the `Memphis Commercial Appeal' newspaper. Comment of Day.

The artlicle profiles William Henry Mauldin, editorial cartoonist of "Post-Dispatch" in Saint Louis, Missouri in 1961. Mauldin boils over onto his drawing board with the scalding impact of a well-intended spit of lava and his works are full of rebellious and caustic passions. Mauldin was borne to renown in World War II on the shoulders of his famous G.I. cartoon characters.

Focuses on the topics covered by editorial cartoonists and opinion columnists of newspapers in the U.S. in 2004. Reason for the decision of columnist Leonard Pitts Jr. to focus on foreign issues; Views of Pulitzer winner and editorial cartoonist Matt Davies on the U.S. presidential elections; Achievements of Universal Press Syndicate cartoonist Garry Trudeau.

Cites the comic and editorial cartoonists' messages about the state of cartooning discussed at the Ohio State Festival of Cartoon Art. Papers and magazine's preference for editorial cartoons with innocuous jokes; Readers' search for provocative cartoons; Job description of editorial cartoonists.

Reports on the recruitment of Mike Ramirez as staff editorial cartoonist for the `Los Angeles Times,' to replace Paul Conrad. Reason for Ramirez's appointment; Background on Ramirez; Ramirez's comment about his appointment.

The article features Scott Stantis, the first full-time staff editorial cartoonist of newspaper "Chicago Tribune" in nine years. He used to work as a cartoonist for "The Birmingham News." According to Stantis, the pressure he is facing now in his new job is to build an audience. Stantis studied at the Los Angeles Harbor College, where he started his fascination with cartooning. Aside from making a living poking fun at politics, he is also a collector of political memorabilia.

The article features Tom Toles, editorial cartoonist at "The Washington Post" newspaper. The newspaper's editorials have supported the Iraq war while Toles has been allowed to do cartoons opposing the U.S. invasion and occupation. He believes that readers would have noticed if he was forced to go along with his paper's stand on Iraq. He is not pleased with the way editorial cartooning jobs are decreasing for he believes that cartoons are among the most popular elements of newspapers.

Presents information on several rejected political cartoons created by editorial cartoonists in the U.S. Mount Rushmore-themed cartoon by Steve Breen; Coffin images by Mike Luckovich; Exxon Valdez oil spill by Bruce Plante.

The article looks at the long tradition of skewering at "Texas Observer" using both printed words and editorial cartooning. Topics include a decline in the membership of the American Editorial Cartoonists since the 1980s, comments from Texas Observer cartoonist Ben Sargent about the losing political cartoonists, an archive of the work of Observer cartoonists found at the Briscoe Center for American History, and a description of the situation of cartooning in other parts of the world.

Reports that editorial cartoonist Joel Pett has left the `Herald-Leader' newspaper to join Universal Press Syndicate. Desire to see if newspapers run Pett's cartoons because they liked his work or the economics of a package; Pros and cons of solo syndication for cartoonists.

This article discusses the significance of the editorial cartoons in the U.S. Cartoonists have been declining--down from almost 200 in the 1980s to fewer than 90 in 2004. The poisonous fumes laying us low are the byproduct of the corporate culture that has engulfed newspapering during the past two decades. It is a bottom-line cult of efficiency that threatens not just the profession but the integrity of journalism and hence the unruly spirit of democracy. That is old news, and all heard reasons for the disappearance of the editorial cartoon. Circulation is down and budgets are tight. Newsprint costs soar. Editors forced to cut budgets look around and find the expendable employee, or the person least like them: the guy or gal who just draws pictures. Newspapers have survived challenges for 200 years, from the rise of the telegraph to radio and television and now 24/7 cable news programming. That is because the newspaper's indispensable function has been to shape its community's very identity through the distinctive voices and personalities on its pages. Cartoons are the most accessible window into the character of the paper and its town. Yet more and more publishers are convincing themselves that they do not need a local pen or brush representing them on the editorial page. Instead of having an artist who will continue to shape and reflect the soul of their community, they get by cherry-picking canned cartoons from syndicates.

The article presents a profile of Sarasota, Florida's Pulitzer Prize-winning editorial cartoonist and creator of the popular comic strip "Mother Goose & Grimm", Mike Peters, who has got the wacky reputation. Before coming to Sarasota, Florida, he worked for the Dayton Daily News since 1969. He works obsessively to produce seven strips and four to five editorial cartoons a week. The article also focuses on his views regarding his educational background, his early stages of a humorous cartoonist, his past experiences as a cartoonist and criticisms of him by other cartoonists.

Profiles Dale Neseman, local editorial cartoonist in several newspapers in the U.S. Advantages of being a local editorial cartoonist; Amount received by Neseman per drawing; Achievements of Neseman; Clients of Neseman.

The article features political cartoonist Rollin Kirby. His figure drawing is described as unimpeachable and his cartoons reportedly give instantaneous exposition of an idea. Kirby writes and draws newspaper editorials. As of 1940, he is working on the "New York Post." According to him, the paucity of symbols through which a cartoonist must express himself is one of the handicaps which confront the cartoonist.

Focuses on editorial cartoonists who opted to live and work away from their newspaper employers in the United States. Modes of communication with newspaper firms; Reasons for living away from their newspaper's headquarters; Drawbacks of being afar from their employer's headquarters.

This article examines the reasons for the lost jobs of editorial cartoonists. The first reason is money. Papers are losing readers and advertising revenue is tougher to come by. The second reason is fear. A good editorial cartoon probably annoys, and might even anger, at least half the audience on any day. Third is laziness. Good cartooning, like all aspects of journalism, takes work. Finding a cartoonist is work. Working with a cartoonist is work. Arguing with a cartoonist about their approach is work. Taking the telephone calls that go along with having a cartoonist is work. Another is ignorance. Thanks in no small part to the editors at Newsweek, an entire generation of journalists has grown into their careers blissfully unaware that editorial cartoons are not just jokes about the news, but visual columns, strong opinion pieces. When relegated to sideshow status, cartoons become basic filler, not the type of stuff you pay someone a full-time salary to produce. Next is the one-paper town. In the old days it was fine to be opinionated and one-sided. But today a lot of editors are uneasy about bludgeoning their readers with the inherently unbalanced work of cartoonists. And last is the might of the right. Although dozens of conservative cartoonists work at papers today, most of the big-circulation names are liberals. In today's political climate, there is a lot of pressure to be fair and balanced, and some of this pressure comes from the publisher's office. None of these explanations for the demise stand up to reason. Yes, papers are losing readers, primarily to television, an easy-to-absorb visual media where opinions fly fast and furious. And while it might make short-term sense to let a cartoonist go, in the long run a newspaper cuts its own throat by making the paper less interesting by robbing it of personality. Sacking the cartoonist also deprives a paper of local cartoons, which can get a community talking about the pages.

This article presents a narrative of the author's experience with newspaper job interviews. The only job I have ever wanted was to draw political cartoons for a living and that is what I do. I am that rare creature, the editorial cartoonist who can make a full-time living solely from syndication. Nonetheless, I do not have what I really want: a job at a newspaper, where I would work with editors and journalists on cartoons on the state and local issues that resonate strongly with readers. My cartoons are fairly well known since they are published in more than a hundred papers. As a result, I have been interviewed three times for positions at major U.S. newspapers. Those close hiring calls serve as parables for the state of the industry. In 1995, the Patriot-News flew me to the Pennsylvania capital to meet for lunch with the paper's features editor, editor in chief, and publisher. I left the meeting feeling positive about my chances. The features editor informed me that rather than hire an editorial cartoonist they have decided to go with a sports-writer. The Patriot-News already had 6 sportswriters on staff. But such are the mysterious priorities of editors and publishers. Around the same time an opening occurred at the Asbury Park Press. The executive editor worked his way down a list of boilerplate questions, everything went satisfactorily until he asked if the paper will see protesters yelling about a cartoon that I drew. I said it is not my intention to offend readers but if an idea is worth expressing, I do not think I should self-censor because of that possibility. I knew I had blown what should have been a simple no. But taking a job under impossible conditions would invariably get me fired. I still dream and wait for the telephone to ring with the news that a paper wants to talk to me and, maybe this time, actually hire me.

The many readers of the newspaper “Saint Louis Post-Dispatch” who admire the work of editorial cartoonist John Sherffius have seen no report in the paper that he, in 2004, won the Robert K. Kennedy Journalism Award for cartoons he did at the newspaper. He quit the paper in disgust in December 2003 after being pressured for more than a year to go easier on Republicans. The pressure came from Terry Egger, the publisher, and Ellen Soeteber, the editor, to lessen complaints and nourish the paper's bottom line. The last straw was when Sherffius was told to add a Democratic donkey to a cartoon that ridiculed pork barrel spending done mostly by Republicans in the U.S. Congress.

Discusses how an editorial cartoonist will be chosen by the `Post Dispatch' in St. Louis, Missouri. Selection of finalists; Members of the jury; Interview by editorial page editor, Christine Bertelson.

Profiles editorial cartoonist Marshall Ramsey of Jackson, Mississippi-based newspaper `Clarion-Ledger.' Education; Success over personal struggles to attain dream of becoming an editorial cartoonist; Career highlights; Work attitude.

Reflects on the life of comic muralist Al Hirschfeld who died in January, 2003. Celebrities who he made caricatures of, including Natalie Wood and Natalia Makarova.

Examines the role played by Egyptian-born political cartoonist, Kimon Evan Marengo, also known as Kem, in the British propaganda effort aimed at Iran in the Second World War. Brief biography of Kem; Factor that prompted the Russians and British to invade Iran on August 25, 1941; Obstacles that British had to overcome in seeking to create persuasive printed material for Iran.

The article profiles Miami News Cartoonist, Don Wright, who has been regarded as one of the nation's most widely published editorial cartoonist. Wright has been a strong critique to President Richard M. Nixon, particularly on Nixon's involvement to the Watergate Scandal through his editorial pages. Wright began his career at Miami News after he graduated from high school in 1952, in which he worked as a photographer and picture editor. He was then convinced to draw on full time. According to Wright as he was new about cartoon editorials in 1963, he studied and mimicked the styles of editorial cartoonist Bill Mauldin, and Herbert Block, who were known to be the best. Moreover, he was awarded with a Pulitzer Prize for his cartoon work that depicted two survivors of a nuclear holocaust.

Discloses that the `St. Louis Post-Dispatch' newspaper has selected John Sherffius as its new political cartoonist. Sherffius' reaction to his selection; Details of the selection process; Sherffius' career history.

Reports on the resignation of Jules Feiffer, the Pulitzer Prize-winning editorial cartoonist who joined New York City-based `The Village Voice' in 1965. Feiffer's rejection of editor in chief Donald Forst's offer to jettison Feiffer's contributor salary and instead buy his cartoons from Universal Press Syndicate; Trend that has seen a number of dailies to start using only syndicated cartoons.

The article presents an interview with cartoonist Wiley Miller. When asked about his first comic strip "Fenton," which was syndicated in the 1980s, he says that "Fenton" was a traditional comic strip with a central cast of characters. Miller says that he worked as a staff artist and editorial cartoonist for the California-based newspaper "Press Democrat" in 1978. He says that in his comic strip "Non Sequitur," which has been there for 20 years, he uses humor as a means of exposing the truth.

The article profiles Ron Rogers, an African American staff editorial cartoonist of the newspaper "South Bend Tribune." Being a minority affects the topics he chose and the result of the cartoons. Watching television and reading history books are one of the interests of the cartoonist. According to the newspaper's managing editor Tim Harmon, the cartoonist is always keen on issues that affect the U.S.

Features Matt Davies, editorial cartoonist for "The Journal News" in White Plains, New York. Information on an award won by Davies and his nomination for a 2004 Pulitzer Prize; Role of U.S. President George W. Bush in his achievements; Influence of his cultural upbringing in England on his profession; Impact of his editorial cartoons on readers.

Reports on issues discussed at the 2001 convention of the United States-based Association of American Editorial Cartoonists. Job cuts involving cartoonists; Remarks by Ralph Nader; Globalization; Panel featuring Canadian cartoonists.

Presents news relating to the profession of United States editorial cartoonists, as discussed at the 2000 Association of American Editorial Cartoonists convention in Minneapolis. Discussion of ways to increase income inside and outside of syndication; Newspaper salaries; Cartoonists Rights Networks' naming of Essam Hanafy the recipient of its annual 'Courage in Cartooning' award.

Reports on an editorial cartooning symposium at the University of Iowa on the trends in cartoon drawing. View of attendees that included comic strip author Aaron McGruder and Universal Press Syndicate president and editorial director Lee Salem. INSET: Et cetera....

Presents three Association of American Editorial Cartoonists (AAEC) members' stories of how they widened their artistic horizons in order to increase their value and keep doing what they love. Highlights of an AAEC convention in Orlando, Florida; Marie Woolf's creation of a Web site; Mike Keefe's entry into online cartoons and animation; Ed Stein's launching of a local comic strip for his newspaper.

Features editorial cartoonist Marie Woolf. Challenges met in a nearly all-male field; Reasons for the few number of women editorial cartoonists; Editorial cartoon word; Other accomplishments.

This article reports that one of the most dangerous men in America reaches for his weapon, cradles it between thumb and two fingers of his right hand and ponders his next move. Editorial cartoonist Mike Lester moves swiftly with a smooth stroke that leaves little more than a thin line, then another and another and another. With practiced precision, Mike Lester has taken another slice out of the rump of American culture, leaving his audience with the choice of laughing, agreeing with his conservative viewpoint or dashing off more anonymous hate mail to mlester@rnt.com. Pen-and-ink satirists like Mike make us laugh, but mo

Focuses on editorial cartoonists and comic creators' preference for electronic filing instead of mail delivery. Tribune Media Services' leasing of computer equipment to its cartoonists; Advantages of electronic filing as cited by several editorial cartoonists; Projected increase in the number of cartoonists using digital delivery.