For those of you who need a translation “kess ekht hal balad” can be summed up as f*ck this country although that’s not what it literally means. It’s literal definition is…somewhat confusing. P.S that awkward moment when you ask your dad to proof read and he corrects your spelling of “kess”. Thanks dad.
For those of you who need a translation “kess ekht hal balad” can be summed up as f*ck this country although that’s not what it literally means. It’s literal definition is…somewhat confusing. P.S that awkward moment when you ask your dad to proof read and he corrects your spelling of “kess”. Thanks dad.
As a side note I had sooo much fun drawing the first panel of the comic! I had to do some research and remind myself of what was fashionable in the early 2000s! How many of you can pick up the references?
As a side note I had sooo much fun drawing the first panel of the comic! I had to do some research and remind myself of what was fashionable in the early 2000s! How many of you can pick up the references?
My Own “I Like The Kitty” Moment
Many of us recall the famous Seinfeld episode, “The Cartoon” (written by my New Yorker colleague, Bruce Eric Kaplan) that includes the scene where Elaine Benes goes into “The New Yorker” to confront the editor (“Mr. Elinoff”) about a cartoon she doesn’t understand.
Here’s the dialogue:
Mr. Elinoff: Miss Benes, cartoons are like gossamer, and one doesn’t dissect gossamer.
Elaine Benes: Well, you don’t have to dissect it if you could just tell me why this is sup
Many of us recall the famous Seinfeld episode, “The Cartoon” (written by my New Yorker colleague, Bruce Eric Kaplan) that includes the scene where Elaine Benes goes into “The New Yorker” to confront the editor (“Mr. Elinoff”) about a cartoon she doesn’t understand.
Here’s the dialogue:
Mr. Elinoff: Miss Benes, cartoons are like gossamer, and one doesn’t dissect gossamer.
Elaine Benes: Well, you don’t have to dissect it if you could just tell me why this is supposed to be funny.
Mr. Elinoff: Oh, it’s merely a commentary on contemporary mores.
Elaine Benes: But what is the comment?
Mr. Elinoff: It’s a slice of life.
Elaine Benes: No, it isn’t.
Mr. Elinoff: A pun?
Elaine Benes: I don’t think so.
Mr. Elinoff: Vorshtein?
Elaine Benes: That’s not a word. You have no idea what this means.
Mr. Elinoff: No.
Elaine Benes: Then why did you print it?
Mr. Elinoff: I like the kitty.
I had my own “I like the kitty” moment yesterday when a Mr. Cooper from Victoria, Canada wrote in asking me to explain a drawing of mine that appears in the 1987 collection (edited by Sam Gross), Cats! Cats! Cats!.
Here’s the drawing:
My immediate reaction was to write Mr. Cooper back saying, “Vorshtein.” But instead, I admitted I had no idea what the cartoon meant. This morning I showed the cartoon to my wife (who is also a long time New Yorker cartoonist). She immediately furrowed — not a good sign.
If any cartoonist out there has had a similar experience (that is: not “getting” one of your own drawings) I’d love to hear about it.
A cartoon illustration of a happily deranged looking cat on a doorstop clasping its hands in joy. Caption reads "Today seemed like yet another perfect day to leave a dead bird on the doorstep."
Exhibit Of Interest: Mick Stevens to Show Work On Martha’s Vineyard
Mick Stevens, who began contributing to The New Yorker in December of 1979, tells the Spill that:
“There’s a show of a dozen or so of my older original New Yorker drawings here at The Martha’s Vineyard Playhouse in Vineyard Haven. The show will run for the entire month of May. The artist will be lurking there from time to time.”
Here’s a personal fave New Yorker drawing by Mr. Stevens (not sure this will be included in the ex
Exhibit Of Interest: Mick Stevens to Show Work On Martha’s Vineyard
Mick Stevens, who began contributing to The New Yorker in December of 1979, tells the Spill that:
“There’s a show of a dozen or so of my older original New Yorker drawings here at The Martha’s Vineyard Playhouse in Vineyard Haven. The show will run for the entire month of May. The artist will be lurking there from time to time.”
Here’s a personal fave New Yorker drawing by Mr. Stevens (not sure this will be included in the exhibit) :
A cartoon illustration of Kermit, The Hulk, and Yoda all sitting under a tree enjoying a picnic. Caption reads "They spent many sunny afternoons talking through shared experiences and sometimes they didn't talk at all."
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Ink On The Side
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An end of the week listing of New Yorker artists whose work has appeared on newyorker.com features
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Mick Stevens, who began contributing to The New Yorker in December of 1979, tells the Spill that:
