![\"US\u2019s](\"https:\/\/eadn-wc04-3257648.nxedge.io\/wp-content\/uploads\/2026\/04\/TMW-Together-We-Win-Featured.jpg\")
<\/a><\/figure>\n\n\n\n<\/a>Bill Maudlin (Up Front<\/strong>,\u00a04\/17\u201322\/1944<\/a>)<\/em><\/p>\n\n\n\n During World War II, cartoonist Bill Mauldin<\/a> was summoned to a meeting with Gen. George S. Patton. Mauldin\u2019s Stars and Stripes<\/strong> cartoons drew Patton\u2019s ire over his matter-of-fact depictions of war and American GIs.<\/p>\n\n\n\n To Mauldin, war was no fun adventure. In Up Front<\/strong><\/a>, his Willie and Joe were war-weary and disheveled soldiers, not heroes ready for movie stardom. They expressed a darkly comic view of the life of an infantryman. In an exemplary cartoon<\/a>, one of the duo says to a medic attempting to hand out a medal: \u201cJust gimme th\u2019 aspirin, I already got a Purple Heart.\u201d<\/p>\n\n\n\n Mauldin avoided punishment when Gen. Dwight Eisenhower circulated a letter instructing all officers \u201cnot to interfere\u201d with \u201csuch things as Mauldin\u2019s cartoons\u201d (Oklahoman<\/strong>, 4\/16\/82<\/a>). Mauldin won the Pulitzer twice for his editorial cartooning, once during the war and once afterwards.<\/p>\n\n\n\n Perhaps Donald Trump\u2019s Pentagon saw itself as acting in the Patton tradition when it eliminated comics from Stars and Stripes<\/strong>. As FAIR (3\/20\/26<\/a>) previously documented, Pete Hegseth has taken steps to crack down on the independence of the Pentagon\u2019s own newspaper. Among the new guidelines to promote \u201cgood order and discipline\u201d is a ban on syndicated material, including comics (Stars and Stripes<\/strong>, 3\/13\/26<\/a>). US servicemembers have now been saved from the woke, subversive influences of Doonesbury<\/strong>, Pearls Before Swine<\/strong> and, perhaps worst of all, Beetle Bailey<\/strong>.<\/p>\n\n\n\n <\/a>Cartooning for Peace\/Cartoonists Rights (3\/2\/26<\/a>)<\/em><\/p>\n\n\n\n Hegseth\u2019s anti-comics viewpoint is part of a global trend. Cartooning for Peace, Cartoonists Rights, Reporters Without Borders and several others have teamed up to produce Under Pressure<\/em><\/a>; the March 2 report surveys the status of caricaturists around the world.<\/p>\n\n\n\n Under Pressure<\/em> collects the stories of some of the most grave casualties in the global war on satire. Egyptian Ashraf Omar has been imprisoned for over a year, awaiting trial under specious charges of terrorism (Committee to Protect Journalists, 3\/2\/26<\/a>). Saudi Cartoonist Mohammed Al Ghamdi (pen name Al Hazza) faces a 23-year sentence <\/a>for \u201csympathizing with Qatar\u201d (Reporters Without Borders, 7\/23\/25<\/a>)\u2014reflecting a since-resolved quarrel between the two governments\u2014and because he allegedly \u201cinsulted the kingdom of Saudi Arabia\u201d . In 2024, Palestinian cartoonist Mahasen al-Khateeb was killed in Gaza by Israeli bombardment (Middle East Eye<\/strong>, 10\/20\/24<\/a>).<\/p>\n\n\n\n When the survey turns to the United States, things remain ominous. Kak, the president of Cartoonists for Peace whose work appears in L\u2019Opinion<\/strong>, found the \u201csame tactics\u201d that appear in authoritarian regimes, or those headed in a dictatorial direction, \u201care being used\u201d in the US. He continued that \u201cthe \u2018Land of the Free\u2019 is now flashing bright red on our threat map,\u201d putting the US in the same crowd as Iran, India, Turkey and Russia.<\/p>\n\n\n\n It\u2019s quite a shift from the 2023 report Cartoonists on the Line<\/em><\/a>, which had no section dedicated to the United States. Much has changed for the worse in three years.<\/p>\n\n\n\n Trump has long mused about using official pressure to suppress satirical responses to his government. In 2018, he threatened to sue Saturday Night Live<\/strong> over their mockery of his administration (Mother Jones<\/strong>, 12\/16\/18<\/a>). His FCC chair, Brendan Carr, argued that it was in the \u201cpublic interest\u201d to threaten Jimmy Kimmel\u2019s late-night ABC<\/strong> show over the host\u2019s comedy (Variety<\/strong>, 12\/17\/25<\/a>). These words and deeds have created a climate of fear in the United States, one that political cartoonists are feeling.<\/p>\n\n\n\n <\/a>Cartooning for Peace (8\/21\/25<\/a>)<\/em><\/p>\n\n\n\n The report cites a few US examples that paint a dark portrait of freedom of expression under the second Trump administration. Some of them have previously been covered by FAIR, including the resignation of Ann Telnaes from the Washington Post <\/strong>(FAIR.org<\/strong>, 1\/7\/25<\/a>), the firing of Palm Beach Post<\/strong> editorial page editor Tony Doris (FAIR.org<\/strong>, 3\/27\/25<\/a>) and Bob Whitmore\u2019s firing and belated reinstatement to Creative Loafing<\/strong> (FAIR.org<\/strong>, 9\/30\/25<\/a>). There are other examples, however, that deserve more examination.<\/p>\n\n\n\n In 1999, Felipe Galindo (Pen name Feggo) drew \u201c4th of July From the South Border,\u201d an endlessly reproduced and reprinted piece<\/a> criticizing the militarization of the border with Mexico. Starting in 2022, Feggo\u2019s work hung in the Smithsonian\u2019s National Museum of American History as part of the \u00a1Presente! A Latino History of the United States <\/em>exhibit.<\/p>\n\n\n\n Feggo\u2019s illustration was taken down after the Trump White House (8\/21\/25<\/a>) attacked it as part of an \u201canti-American exhibition\u201d that showed the US\u2019s legacy of \u201ccolonization\u201d and the history of Latino \u201cvictimhood and exploitation.\u201d A crowing editorial in the Washington Examiner<\/strong> (8\/24\/25<\/a>) asserted \u201cthe Smithsonian is long overdue for a housecleaning\u201d over its \u201cfashionable, culturally Marxist ideas.\u201d The New York Times<\/strong> (3\/28\/25<\/a>) described Trump\u2019s interference with the Smithsonian as seeking \u201ca more positive view of American history.\u201d More positive for whom, is a question left unasked. Artist Rigoberto Gonzalez, whose \u201cRefugees Crossing the Border Wall Into South Texas\u201d was likewise removed, compared the administration\u2019s censorship to the Nazi campaign against \u201cdegenerate art\u201d (NPR<\/strong>, 8\/24\/25<\/a>).<\/p>\n\n\n\n Julie Tr\u00e9bault of Artists at Risk Connection, who wrote Under Pressure<\/em>\u2018s section on the United States, said it was a \u201crare and significant move\u201d for the executive branch to single out \u201ca specific work for removal from a federal museum.\u201d<\/p>\n\n\n\n <\/a>Adam Zyglis (Buffalo News<\/strong>,\u00a07\/7\/25<\/a>)<\/em><\/p>\n\n\n\n The report cited another Pulitzer winner, Adam Zyglis, in its section on the United States. His July cartoon for the Buffalo News<\/strong> (7\/7\/25<\/a>) on flooding in Texas showed a MAGA hat-sporting Texan being swept away while proclaiming, \u201cGov\u2019t is the problem not the solution!\u201d<\/p>\n\n\n\n The New York Post<\/strong> (7\/10\/25<\/a>) reran a Fox News<\/strong> piece (7\/9\/25<\/a>) that slammed the cartoon as \u201cvile.\u201d The Post<\/strong>\u2019s conscience is an interesting development, considering that the paper ran a cartoon in 2009 comparing President Obama to a chimpanzee (Guardian<\/strong>, 2\/18\/09<\/a>), echoing a well-known racist trope.<\/p>\n\n\n\n The slings and arrows of press criticism were nothing compared to what was to come. In response to this cartoon, Zyglis was subject to numerous death threats. An appearance at Buffalo Museum was canceled over public safety concerns (Politico<\/strong>, 7\/11\/25<\/a>). The Association of American Editorial Cartoonists, the Society of Professional Journalists and the Committee to Protect Journalists all released statements condemning the threats and supporting Zyglis (Daily Cartoonist<\/strong>, 7\/17\/25<\/a>).<\/p>\n\n\n\n Tr\u00e9bault notes this as a sinister development. To criticize \u201cthe government\u2019s actions or positions,\u201d she wrote, \u201cnow exposes artists to direct threats.\u201d<\/p>\n\n\n\n <\/a>Tom Tomorrow (Daily Kos<\/strong>,\u00a03\/9\/26<\/a>)<\/em><\/p>\n\n\n\n Unfortunately, Under Pressure<\/em> has received little coverage in the United States, excepting the Daily Cartoonist <\/strong>(3\/4\/26<\/a>). This contrasts with the coverage in New African Magazine<\/strong> (3\/2\/26<\/a>), which gave the incidents the report highlights on that continent wider publicity.<\/p>\n\n\n\n The lack of attention media outlets gave to Under Pressure<\/em> comes at a dangerous time for press freedom. The Inter American Press Association, a hemispheric media watchdog, recently classified the United States as a nation with \u201c\u2018restrictions\u2019 on freedom of speech\u201d and of the press (AP<\/strong>, 3\/10\/26<\/a>). By not giving reports like Under Pressure<\/em> attention, media outlets are placing their heads in the sand.<\/p>\n\n\n\n Beyond open political censorship, there are also economic pressures on political cartoonists. Many newspapers do not employ their own cartoonists. Instead they choose material from syndicates, which reduces the amount of total cartoonists employed. It\u2019s simple math. Why hire a dedicated cartoonist when syndicated material can be purchased for a fraction of the price?<\/p>\n\n\n\n The venues for cartoonists are also shrinking and sometimes disappearing. Since 2005, around 3,500 newspapers have shut down (Poynter<\/strong>, 10\/20\/25<\/a>). Publications like the Atlantic Journal-Constitution<\/strong>, the Newark Star-Ledger<\/strong> and the Pittsburgh Post-Gazette<\/strong> are either ending their print editions or shutting down entirely. Cartoonist Walt Handelman (Editor & Publisher<\/strong>, 2\/18\/26<\/a>), recently retired from the New Orleans Times-Picayune <\/strong>and the Advocate<\/strong>, said he was \u201coptimistic about satire\u2026. The real question is, how do you make a professional living doing it.\u201d<\/p>\n\n\n\n Are there still political cartoonists out there worth looking for? Of course. In These Times<\/strong> has a vibrant comics section<\/a> with witty and insightful commentary from the likes of Mattie Lubchansky<\/a>, Jen Sorenson<\/a>, Tom Tomorrow<\/a> and others. The annual collection World War 3 Illustrated<\/strong><\/a> provides a perspective not likely to be found in other outlets, as exemplified by last year\u2019s issue<\/a> dedicated to Palestinian cartoonists. In between winning awards for Insectopolis<\/em>, his comic study of creepy crawlies, Peter Kuper\u2019s work<\/a> enlivens The Nation<\/strong>. Cartoonists may be \u201cunder pressure,\u201d but the best of them are capable of rising to the challenge.<\/p>\n\n\n\n FAIR\u2019s work is sustained by our generous contributors, who allow us to remain independent.\u00a0Donate<\/a>\u00a0today to be a part of this important mission.<\/em><\/strong><\/p>\n\n\n\n (Contributed by Gwyllm Llwydd)<\/p>\n","protected":false},"excerpt":{"rendered":" April 9, 2026 (fair.org) Hank Kennedy Bill Maudlin (Up Front,\u00a04\/17\u201322\/1944) During World War II, cartoonist Bill Mauldin was summoned to a meeting with Gen. George S. Patton. Mauldin\u2019s Stars and Stripes cartoons drew Patton\u2019s ire over his matter-of-fact depictions of war and American GIs. To Mauldin, war was no fun adventure. In Up Front, his… Continue reading A global trend <\/strong><\/h3>\n\n\n\n
![\"\"](\"https:\/\/occupysf.net\/wp-content\/uploads\/2026\/04\/image-35.png\")
<\/figure>\n\n\n\n\u2018Long overdue for a housecleaning\u2019<\/strong><\/h3>\n\n\n\n
![\"\"](\"https:\/\/occupysf.net\/wp-content\/uploads\/2026\/04\/image-36.png\")
<\/figure>\n\n\n\n\u2018Direct threats\u2019<\/strong><\/h3>\n\n\n\n
![\"\"](\"https:\/\/occupysf.net\/wp-content\/uploads\/2026\/04\/image-37.png\")
<\/figure>\n\n\n\nHeads in the sand<\/strong><\/h3>\n\n\n\n
![\"\"](\"https:\/\/occupysf.net\/wp-content\/uploads\/2026\/04\/image-38.png\")
<\/figure>\n\n\n\n
![<\/a>Tom Tomorrow (Daily Kos<\/strong>,\u00a03\/9\/26<\/a>)<\/em><\/p>\n\n\n\nUnfortunately, Under Pressure<\/em> has received little coverage in the United States, excepting the Daily Cartoonist <\/strong>(3\/4\/26<\/a>). This contrasts with the coverage in New African Magazine<\/strong> (3\/2\/26<\/a>), which gave the incidents the report highlights on that continent wider publicity.<\/p>\n\n\n\nThe lack of attention media outlets gave to Under Pressure<\/em> comes at a dangerous time for press freedom. The Inter American Press Association, a hemispheric media watchdog, recently classified the United States as a nation with \u201c\u2018restrictions\u2019 on freedom of speech\u201d and of the press (AP<\/strong>, 3\/10\/26<\/a>). By not giving reports like Under Pressure<\/em> attention, media outlets are placing their heads in the sand.<\/p>\n\n\n\nBeyond open political censorship, there are also economic pressures on political cartoonists. Many newspapers do not employ their own cartoonists. Instead they choose material from syndicates, which reduces the amount of total cartoonists employed. It\u2019s simple math. Why hire a dedicated cartoonist when syndicated material can be purchased for a fraction of the price?<\/p>\n\n\n\nThe venues for cartoonists are also shrinking and sometimes disappearing. Since 2005, around 3,500 newspapers have shut down (Poynter<\/strong>, 10\/20\/25<\/a>). Publications like the Atlantic Journal-Constitution<\/strong>, the Newark Star-Ledger<\/strong> and the Pittsburgh Post-Gazette<\/strong> are either ending their print editions or shutting down entirely. Cartoonist Walt Handelman (Editor & Publisher<\/strong>, 2\/18\/26<\/a>), recently retired from the New Orleans Times-Picayune <\/strong>and the Advocate<\/strong>, said he was \u201coptimistic about satire\u2026. The real question is, how do you make a professional living doing it.\u201d<\/p>\n\n\n\nAre there still political cartoonists out there worth looking for? Of course. In These Times<\/strong> has a vibrant comics section<\/a> with witty and insightful commentary from the likes of Mattie Lubchansky<\/a>, Jen Sorenson<\/a>, Tom Tomorrow<\/a> and others. The annual collection World War 3 Illustrated<\/strong><\/a> provides a perspective not likely to be found in other outlets, as exemplified by last year\u2019s issue<\/a> dedicated to Palestinian cartoonists. In between winning awards for Insectopolis<\/em>, his comic study of creepy crawlies, Peter Kuper\u2019s work<\/a> enlivens The Nation<\/strong>. Cartoonists may be \u201cunder pressure,\u201d but the best of them are capable of rising to the challenge.<\/p>\n\n\n\nFAIR\u2019s work is sustained by our generous contributors, who allow us to remain independent.\u00a0Donate<\/a>\u00a0today to be a part of this important mission.<\/em><\/strong><\/p>\n\n\n\n(Contributed by Gwyllm Llwydd)<\/p>\n","protected":false},"excerpt":{"rendered":"April 9, 2026 (fair.org) Hank Kennedy Bill Maudlin (Up Front,\u00a04\/17\u201322\/1944) During World War II, cartoonist Bill Mauldin was summoned to a meeting with Gen. George S. Patton. Mauldin\u2019s Stars and Stripes cartoons drew Patton\u2019s ire over his matter-of-fact depictions of war and American GIs. To Mauldin, war was no fun adventure. In Up Front, his… Continue reading → <\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/posts\/47656"}],"collection":[{"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/comments?post=47656"}],"version-history":[{"count":1,"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/posts\/47656\/revisions"}],"predecessor-version":[{"id":47661,"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/posts\/47656\/revisions\/47661"}],"wp:attachment":[{"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/media?parent=47656"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/categories?post=47656"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/occupysf.net\/index.php\/wp-json\/wp\/v2\/tags?post=47656"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/eadn-wc04-3257648.nxedge.io\/wp-content\/uploads\/2026\/04\/TMW-Together-We-Win.jpg\"){kind=link}