Showing posts with label Washington Post. Show all posts
Showing posts with label Washington Post. Show all posts

Friday, March 22, 2024

Michael de Adder on his Washington Post tenure

In the 2024 Kesterton Lecture with Michael de Adder, at the Carleton School of Journalism and Communications, he discusses his time with the Post. This is the first time I've heard a reason for him leaving the WaPo, and he chalks it up to the editorial page editor's death.

[Starting at 1:01]

 When I was hired by The Washington Post, I was hired to take over Tom tole's job. Now the most celebrated cartoonist in one of the most celebrated cartoonists in the world used to work for the Washington Post, a guy named Herblock. He changed cartooning. He was one of the people who modernized cartooning and made cartooning what it is today. The funny thing is  this was the era of Ben Bradley and Watergate and when they were going to replace Block, they announced that they were going to give Tom Toles the job. Tom Toles is an excellent cartoonist. He's nothing like Herblock but that's a good thing. I was there on the day that it was announced he was taking over and Ben Bradley said this to him in front of a whole room of cartoonists, "You have big shoes to fill." What a terrible [thing to say]. It is true he had big shoes to fill, but don't say that in a room full of cartoonists.

He did great though. I thought he was one of the best, but a year later they hired Ann Telnaes to also work online and I thought they produced some of the best cartoons in America. Not the best in Canada -- we're really good cartoonists here.

So when Tom Toles decided to retire, and he retired the day after Trump lost which I thought was a classy thing to do, I told my manager that I wanted to show interest in getting that job. I didn't expect to get it, and I got it, and it was great at first. I think I started off a little slow.

Fred Hiatt, the guy that hired me, in 2022 at Thanksgiving he had a heart attack and died. It was a massive heart attack and I think he died something like within two weeks.I always felt like I only had one person on my side at the [Post]. I probably had 10 people on my side at the Washington Post but I really only felt like I had one person. Now it happened to be the main person so he's the person you want to have on your side, but when he died, I knew that it's possible that my career with them was going to end. The new guy came in and I do believe that he had a mission to make things a little more conservative and and I don't know if that came from the boss or if it came from or where it came from -- all I know is that the first conversation I had with him, all he talked about was all the cartoonists he liked and he didn't mention me. That doesn't bode well, but anyways you know these things happen. The paper wanted to go further right and I'm clearly not on the right.

At 1:12 when being questioned about being fired four times, he returns to the point, saying it wasn't about the money:

[At] The Washington Post, it was purely point of view. In fact they were paying
me twice what they should have for one cartoon, just to keep me there so that they could quietly let me out the door.

Friday, February 09, 2024

Michael de Adder on former WaPo job at X/Twitter

Don't have much to say. I took the job because I was supposed to be the main cartoonist. Now I find myself without a job. And that's all I have to say. I'd like to get a job at another newspaper. Ha like it's easy. But I have a plan I want to try first. Something different. Coming soon I guess.

Thursday, December 28, 2023

Hannah Good to edit comics pages & Daily Cartoonist adds to WaPo buyout news

Michael Cavna tells me that Hannah Good is staying at the Post and will be taking over David Betancourt's comics page editing duties. She's been good for the WaPo's cartoon journalism this past year, so I'm very glad she's staying.

Here's her Post page info:

Headshot of Hannah Good

Hannah Good

Washington, D.C.

Education: Western Kentucky University, BA in English

Hannah Good is a Designer curating comics journalism and illustrated reporting with teams around the newsroom. She's also an illustrator and comic artist who has worked with HarperCollins Publishers, Apple TV+, Barnes and Noble and the BLINK art festival. Previously, she was an Opportunity Fellow on the Next Generation Audience Development team focused on comics and a social producer and comics editor for The Lily. Before joining The Post, she was a social media producer at Washingtonian Magazine. She's a proud graduate of Western Kentucky University, where she was editor-in-chief of the Talisman magazine.

In the meantime, DD Degg has dug deeper into the WaPo's latest "shrinking to greatness" moment so I don't have to.

But for the record, of the Style and Metro staff, my current tally of departures is: Cavna, Betancourt, exhibit reviewer Marc Fisher, media reporter Paul Farhi, theater critic Peter Marks and Metro's John Kelly and Courtland Milloy. Editors Jeff Leen, Sydney Trent and Lynda Robinson are going. Hank Stuever is staying as an editor for Style. As I've noted to a few people, owner Jeff Bezos could literally pay everyone in America to write for the paper without really noticing.
 
Updated: My friend Lisa's colleague Ann Maloney is also leaving the Food section. 

Wednesday, December 27, 2023

WaPo loses all writers about comics as Cavna and Betancourt depart

Michael Cavna just confirmed to me that both he and David Betancourt are taking the Post buyout offer, and there will be no specialists on comics on the staff now.
 
 Here's their staff bio pages before they disappear.

Michael Cavna

Washington, D.C.

Covering visual culture and storytelling: comedy/satire, graphic and comic art/illustration and animation.

Education: University of California, San Diego, Literature/Writing

Writer-artist-recovering-syndicated-cartoonist Michael Cavna is a man of many hyphenates. His articles on visual artists and comic art/illustration have been honored by the Sigma Delta Chi Awards, the National Headliner Awards and the international Harvey Awards. Cavna is creator of The Post's Comic Riffs online column, which has twice been named the best newspaper blog in the country by the Society for Features Journalism. A San Francisco native and University of California at San Diego graduate, Cavna wrote the main text for the Eisner Award-nominated anthology book "Team Cul de Sac: Cartoonists Draw the Line at Parkinson's." Cavna's "Wise Up" cartoon launched the viral #Draw4Atena campaign in 2015 on behalf of jailed Iranian artist Atena Farghadani. He is also emcee and co-programmer of the Library of Congress/National Book Festival's Graphic Novel Pavilion. "Peanuts" creator Charles M. Schulz once told Cavna at a black-tie awards dinner: "You do funny things"; to this day, he does not know for sure whether Schulz was referring to Cavna's syndicated comic "Warped" (Andrews McMeel) or to his tragically askew cummerbund.
 
Honors and Awards: National Headliner Award, writing/illustration, 2017, 2019 & 2021 ; Ink Bottle Award, Association of American Editorial Cartoonists, 2023; Eisner Award finalist, journalism, 2016, 2017, 2020 & 2021; Society of Professional Journalists, Sigma Delta Chi Award, audio/visual storytelling, 2018; Society for Features Journalism awards, Arts/feature coverage and commentary, 2013, 2014, 2015, 2016, 2017 & 2021; Harvey Awards finalist, biography/journalism, 2012

Professional Affiliations: Society for Features Journalism, National Society of Newspaper Columnists

Books by Michael Cavna:

"Team Cul de Sac: Cartoonists Draw the Line at Parkinson's" (text) 

 

 

Headshot of David Betancourt

David Betancourt

Washington, D.C.

Reporter focusing on comic book culture

Education: Radford University, BA in media studies

David Betancourt writes about all aspects of comic book culture for The Washington Post's Comic Riffs blog.
Honors and Awards: Two-time Eisner Award nominee

Languages spoken in addition to English: Spanish


More to Come (as a 'competitor' says, on a day when I haven't driven 600 miles)

Thursday, August 31, 2023

WaPo's Lily Lines and The Nib both end today

From the last LL newsletter (500 comics!) -

For six years, it's been our pleasure to deliver essential stories about gender and identity to your inbox with Lily Lines. During this time, the Lily team made an award-winning documentary, published nearly 500 comics, read dozens of books together and shared plenty of Your Takes. More recently, one of our former team members, Caroline Kitchener, won a Pulitzer Prize for her reporting on abortion — stories that were always a priority for the Lily and its readers.

As the team takes on new roles at The Post dedicated to this coverage, this is the final issue of the Lily Lines newsletter. You can still find our reporting and perspectives on gender and identity across the site, but especially in our reimagined Style section, which launches soon.

The corresponding Style Memo newsletter will cover the personalities, conversations and cultural trends that shape American life. Lily Lines readers have been signed up to receive it in their inbox starting Sept. 8.

Until next time,
Team Lily 🖤


and Cavna on the Nib:

An era ends: How the Nib lifted the art of political comics journalism

Tuesday, June 20, 2023

Right-wing cartoonist Michael Ramirez joins WaPo on contract?

He's apparently joined Telnaes, de Adder, Pritchett and Rosen on contract? Is this being driven by owner Bezos who's eased out publisher Ryan by creating a job for him last week? Ramirez is definitely not in the tradition of Herblock and Toles, who were independent parts of the editorial team staff. And they have 5 cartoonists on contract, AFTER they terminated their syndicate, the WPWG, this year?


Anyway, read DD on the facts, not my speculation.

Michael Ramirez Has a Wash. Post Gig?

Sunday, May 28, 2023

WaPo letters on comics formatting and Ellis Rosen cartoons, also Edith Pritchett

The Post published 2 letters about 2 of the 3 issues I ranted about a week ago. See the Daily Cartoonist's summary here, also because they properly identified the strip scrunched into Reply All Lite's space as an old Scary Gary strip.

The two letters are;

Monumentally confusing [Ellis Rosen]

Randy Bograd,

Washington Post May 27 2023: A15

online at https://www.washingtonpost.com/opinions/2023/05/26/reader-critiques-cleopatra-was-not-black/

 

We got it to fit — but it wasn't fit to print

Ted White,

Washington Post May 27 2023: A15

online at https://www.washingtonpost.com/opinions/2023/05/26/reader-critiques-cleopatra-was-not-black/


Taking them in reverse order, Ted White is a former editor of Heavy Metal who doesn't have anything nice to say about the strip and calls it usually incomprehensible and 'assembled from stock bits on a computer.' Actually, Donna Lewis DOES draw it, but on a computer. The continuing sticking point to me is that the Post STILL identifies the strip as being Reply All Lite in its credits!


The first letter is in favor of Ellis Rosen's cartoon of the relaxing Washington Monument. This past week, WaPo published 2 more of Mr. Rosen's cartoons as 'editorial' cartoons, which they are STILL not. They're gag cartoons, or pocket (if you're British). One is a grey aliens gag about being quick in an abduction to get home early. The other is a family on a game show trying to get out a door while their two small children run around.


I'm perfectly ok with the Post giving Bezos' money to Rosen - just stop calling him an editorial cartoonist and running these on the editorial page. They would be just fine on the comics page or any other page on the paper.


Speaking of semi-editorial cartoons, this piece is also listed as an editorial cartoon - it comes a bit closer if you're Entertainment Weekly, which used to publish similar material by Barry Blitt early in his career. Again, does it deserve to be on the editorial pages of the Post? I think rather Style or Weekend would be appropriate. They also did her the disservice of printing it in black and white.


Highlights from the Cannes Film Festival, even if you don't like movies [in print as The (very unofficial) guide to the Cannes Film Festival]

By Edith Pritchett

Editorial cartoonist

Washington Post May 27, 2023: A17

Online at https://www.washingtonpost.com/opinions/2023/05/25/edith-pritchett-cartoon-cannes-film-festival/


Wednesday, May 17, 2023

Tuesday, May 16, 2023

Good news from WaPo on cartoon journalism! Or illustrated reporting!

Hannah Good tells me that they now have a centralized site for what they're calling "illustrated reporting" - yet another term for a nascent field.*


Congratulations to her for getting this landing page started (although it's definitely incomplete and lacking a lot of the scores of strips done for the former Lily website). On the other hand, there's stories I haven't seen and linked to** and I'm literally their target audience for these, as a reader, subscriber, and advertising subject. Perhaps it's time to bring back the Comic Riffs newsletter? In any event, the existence of the site is good news and I'll be adding a link to it on the blog.

This week's former Lily webcomic is:

More than 'just a look': The long history of staring in the disability community; I wanted to examine this precedent to reflect on the implications of staring in our day-to-day lives
 

*There's just been a long discussion on an academic comics list about what term to submit to the Library of Congress genre list, but this one wasn't on it.

**and for the record, here's the other stories that I missed pointing out here, including one by my friend Ellen Lindner, and SPX favorites Gemma Correll and Hartley Lin. Both women (Lin is a man) have done other pieces for the WaPo Lily site that should be searchable via this blog.

The Koh-i-Noor diamond has adorned the crowns of previous queen consorts, but it will not be on Queen Camilla's.

Monday, May 15, 2023

WaPo doesn't understand comics 3: This is an editorial cartoon? [UPDATED]


With all due respect to Ellis Rosen, whom I don't know at all, why is this on the editorial page of the Washington Post. Is this a political cartoon? If so what does it mean?
I'm absolutely serious about asking what does it mean. One might have expected to find a cartoon like this in the New Yorker 35 or 40 years ago, but one expected nonsensical comics from them.

The Post made an extremely large mistake by not appointing Ann Telnaes to replace Tom Toles (or Herblock even IMHO), and they continue to compound it by running works like this. 

For their home cartoonist, we should have someone that lives here. Michael de Adder is a perfectly competent cartoonist, but he's a Canadian who stayed in Canada and works on a contract. He's not a WaPo employee. To add to the disrespect they show him, the editor runs his cartoons smaller than this one is, and his color cartoons with extensive cross-hatching are run in black and white, so they are extremely muddy and sometimes unreadable. We deserve our own local cartoonist, and one who is treated with respect, in the great tradition of Herblock.
 
5/16/23: formerly local editorial cartoonist Al Goodwyn wrote in to say that a version of the cartoon had a title of "Monumentally Exhausted" -  here it is in the online version, which I don't understand any better.  Hmmm, the link calls it "Washington Chaos" which isn't any better as a title.

Finally, just to be clear, I know and like Michael de Adder, and I like his work when it's printed in color and larger than 4x4." He's still not a Washingtonian, even a transplanted one like Block, Toles, Telnaes (and me). Also, I'm sure Ellis Rosen is a fine cartoonist - as I said, I don't know him. I just didn't think the Post's editorial page was the place for this cartoon. As a filler on another page, which newspapers used to do, I would have glanced at it, perhaps smiled, and moved on. Adding to this blog on a computer, and not writing it on my phone like I did last night, I can see that he actually IS a New Yorker cartoonist. Good for him. I subscribe to that print magazine too, but I'm way behind on reading it.

WaPo doesn't understand comics 2: Sunday's biz section mess

Jeff Stein and Vreni Stollberger may have created a perfectly good comic strip about the debt ceiling. Certainly the teaser image and text on the front page of Sunday's business section looks appealing.

However, when you open the page, instead of seeing one broadsheet comic of a basic ten panels, it's broken up into two black and white panels per page, for five pages, totally interrupting the rhythm and flow of the strip.

 
Presumably, they were more concerned about how it looked online, where it would work easily as a vertical scroll. Ah, yes it does. But it would be nice if they would show a little respect to both their creators, and the readers of their print publication, which is probably still subsidizing most of the electronic paper, by not giving us this bastardized unreadable mess.

WaPo doesn't understand comics 1: Today's Reply All LITE panel [CORRECTED]

 
... has the Scary Gary comic strip from May 18, 2019* squished into local cartoonist Donna Lewis' Reply All Lite's panel space. Lite only appears in the Post as far as I know, while the main strip is widely syndicated. Whoops. Lucky they don't think the comics matter anyway.
 
*Thanks to DD Degg for correctly identifying the substituted strip. In my defense, the original is only about 3" high in the actual paper.


Saturday, March 25, 2023

That darn Get Fuzzy...

...has been in reprints since 2013, but somebody STILL wants it in the Post to replace Dilbert.

Get 'Fuzzy' again, get funny again

Gerald Trabucco, Springfield

Washington Post March 25 2023: A15

online at https://www.washingtonpost.com/opinions/2023/03/24/errors-post-ukraine-trump-readers-critique/

Monday, December 26, 2022

The Post published 54 comics journalism strips not labelled as such in 2022

...and note that the cartoonists are listed as 'illustrators' and the heading is 'Perspective' not comics.  I've missed almost all of these even though I'm a print and digital subscriber.

Comics Wrapped
Intro by Hannah Good
Lily Lines December 26 2022
https://s2.washingtonpost.com/camp-rw/?trackId=596c1be2ade4e24119c3d7be&s=63a98d04ef9bf67b23374652&linknum=5&linktot=40

Illustrations by Bea Hayward, Yulia Vus, Hyesu Lee, Tenzing Lhamo Dorjee, Pepita Sándwich

Friday, December 02, 2022

Wash Post presumably fires Bob Staake, as it ends longtime reader favorite Style Invitational contest

or, more accurately, “Wash Post cancels weekly Style Invitational contest illustrated for 29 years by Bob Staake.”
 
by Mike Rhode (updated 12/3 with comments from Bob) 
 
Bob Staake has been illustrating the Style Invitational contest for well over a decade... actually it's been for three of them. Buried in this story about firing the Post's dance critic (another loss as the paper tries to shrink to greatness, AGAIN) is this nugget, "The paper has also eliminated its weekly Style Invitational humor contest, which involved ending the contract of former longtime Post editor and current contributor Pat Myers." Meyers wrote a column herself as well. And Bob wrote in correcting my headline (which is fair - I wrote it to get attention to the grievous loss of yet more cartooning), noting, "I wasn’t “fired,” the Post simply cancelled a humor column that I illustrated. They didn’t cancel ME. It seems to me the more apropos headline would be 'Wash Post cancels weekly Style Invitational contest illustrated for 29 years by Bob Staake.' No matter how you look at it that’s a Hell of a run and all good things must come to an end." Bob is completely accurate, and we regret the misleading headline, but as they say in the news biz, "if it bleeds, it leads."
One of Staake's last illos

Staake has created an illustration for the contest which has run in color in the Style section (NOT the magazine which they also killed this week) since 1992 (or 1994) and has conservatively probably done 1500 cartoons for it over the thirty years. When he wrote to us here in 2009, he also noted that he'd been working for the Post for 25 years at that time, which puts him starting doing work for them in 1984.  You can find ComicsDC's coverage of him here and it goes across multiple pages. At one point when I mentioned him, out of the blue, he sent me a drawing of WWMRD (what would Mike Rhode do?) which hangs over my dining room table. When he was in town for the National Book Festival, after doing the poster for them, I interviewed him for "Illustrator Bob Staake on Dark Humor, New Yorker Covers, and Analog Art in a Digital World," Aug. 28, 2014, http://www.washingtoncitypaper.com/blogs/artsdesk/books/2014/08/28/illustrator-bob-staake-on-dark-humor-new-yorker-covers-and-analog-art-in-a-digital-world/ and it was reprinted in the International Journal of Comic Art.

Empress Meyers writes of him, "To Bob Staake, Gene's and then my visual partner since 1994 — way longer than either of us. Over the decades while Bob gained wide renown as a New Yorker cover artist and bestselling children's book author and illustrator, Bob continued to send a cartoon to the Invite, as "really the only steady job I've ever had." Bob and I have met in person only once — he lives on Cape Cod — but every week we're the Invite version of the Kramdens, bickering and threatening to send each other to the moon, but aww we make up."

The end of this contest is probably the last vestige of all the Miami Herald staff and innovations that actually made the Post a must-read for many years beginning in the 1980s as the Watergate sheen was beginning to wear off. I've never entered the Invitational, but I know many people who have, and am sure the complaints about this have started. Personally, I'll miss seeing Staake's cartoon.

I used to compile a list of cartoonists appearing in local publications back when it was worth doing. Here's one from 2007, of which barely any of the publications still exist, and only Matt Wuerker at Politico is really soldiering on.

Cartoonists in Washington, DC area newspapers as of late May 2007

Washington Post
-Tom Toles - editorial cartoonist (semi-daily)
-Richard Thompson - Richard's Poor Almanac (Saturdays); Cul de Sac strip (Sunday's Magazine), illustrations for Joel Achenbach's Rough Draft column (Sunday's Magazine)
-Rob Shepperson, Tim Grajek - illustrations for Sunday's Business section
-Nick Galifianakis - cartoons for ex-wife Carolyn Hax's Tell Me About It advice column.
-Bob Staake - cartoons for Style Invitational contest (Sunday)
-Patrick M. Reynolds - Flashback comic strip; unique Washington version (Sunday comics)
-Eric Shansby - illustrations for Gene Weingarten's Below the Beltway column (Sunday's Magazine)
-Christopher Gash; Christopher Neimen - spot illos especially on Sunday
-Michael Cavna - editorial cartoons in Arts section, extremely irregularly
-Julie Zhu - Montgomery Blair High School student cartoonist for Extra Credit column in local Extra sections
-Saturday box of syndicated editorial cartoons
-Turkish cartoonist Selcuk Demirel illustrations in Book World, semi-regularly

Of the Post people, 15 years later Richard's dead, we gained Ann Telnaes as an online animated political cartoonist, Toles was replaced by Michael de Adder (on contract from Canada, and they're running his piece too small and in b&w on the opinion page), the Saturday box of 4 political cartoonists is still there, Nick Galifianakis continues to illustrate Carolyn Hax's column albeit from an undisclosed location that's not Northern VA, Reynold's retired his Flashbacks strip this fall, and Cavna and Dave Betancourt cover comics stories but far less than they did when their Comic Riffs blog existed. And the Post has 2 pages of comics daily, down from 3, and printed microscopically, and 1 section of Sunday comics, instead of 2. Awww, get the hell off my lawn already. 
 
Updated: Friend of ComicsDC, cartoonist Clay Jones pointed out that Staake had posted about this on his FB page.

Friday, October 14, 2022

Hannah Good starts cartoon fellowship at The Post

 See her Twitter thread.


hello!!! yesterday I started an opportunity year fellowship @washingtonpost to expand comics journalism across the newsroom here’s more about what I’ll be doing (in comic form, duh) 
 









 

Tuesday, August 30, 2022

Strange coincidence in today's Post

 There's a Wumo comic about a support animal alligator, while there is also an article elsewhere in the Style section about a real one. The world is getting weird.






Tuesday, June 14, 2022

Meet Sergio Peçanha, Washington Post visual essayist

by Mike Rhode

One of the pleasures of the Washington Post's digital version, besides national treasure Ann Telnaes, is Sergio Peçanha's work, much of which recalls the promise of webcomics that Scott McCloud predicted so many years ago. I was absolutely thrilled to make contact with him on Instagram, and ask him to do an interview. As is our wont, rather than straining to find new words, we'll just lift the Post's biography of him:

Sergio Peçanha is a visual columnist at the Opinions desk of the Washington Post. He uses visual elements like illustrations, cartoons, maps, information graphics and videos to tell stories. Before joining The Post in 2019, he was a graphics editor at The New York Times for more than a decade, where he created visual stories for the International desk and the New York desk. Peçanha graduated in journalism from the Federal University of Rio de Janeiro. His work has been recognized multiple times by the Society for News Design and the Malofiej infographics awards, in Spain, including Gold medals

What type of comic work or cartooning do you do? I called it editorial illustration when I reached out to you - is this accurate?

I think I'd say I do visual essays. I use cartoons, photography or any other sort of visual elements, like charts to tell visual stories.  The language I use often borrows from the storytelling style common in children's picture books, but for an adult audience. The idea determines the visual and writing style I use. Sometimes I may not use pictures at all.  (The links in my answers are examples of what I am referring to.)


 How do you do it? Traditional pen and ink, computer or a combination?


I almost always do pencil sketches. Sometimes I use acrylic, pen and ink, iPad, Photoshop, after effects. I use anything that gets the job done.

How did you come to work for the Washington Post? Are you on contract, or on staff?

I studied journalism in Brazil and have been a visual journalist for more than 20 years. For 11 years, I worked at the graphics desk of the New York Times. I did information graphics, visual stories and multimedia. I came to the Post in 2019 to work doing multimedia, visual stories and graphics at the Opinions desk. But for me, the main reason to come here was to be able to do my column, where I can experiment with visual elements, humor and language. I'm on staff.

When (within a decade is fine) and where were you born?

1976, Rio de Janeiro.

Are you in Washington now?  If so, what neighborhood or area do you live in?

I live in Silver Spring, MD.


What is your training and/or education in cartooning?


No training in cartooning. I studied journalism in college and earned a masters degree in illustration a couple of years ago. 

Who are your influences?

Many. Some are... Sempé; David Shrigley; David Hockney; R.O. Blechman; Steinberg; H.M. Bateman; Laura Carlin; Bill Watterson; Glen Baxter; Serge Bloch; Liana Finck; Maira Kalman; Laerte; Chico Caruso; Mariana Massarani; and of course, Ann Telnaes and Michael de Adder, who I can't believe I can call "my colleagues."

If you could, what in your career would you do-over or change?

I was born in a lower middle class family in Rio de Janeiro. My path to this point highly is unlikely. So I wouldn't change anything.

What work are you best-known for?

I don't think I'm best known.

What work are you most proud of?

I am proud of Absurd America at the Post and for some of the multimedia storytelling that I helped to develop at the Times.


What would you like to do or work on in the future?

I wanna do a book. Maybe more than one. I have some ideas. But I also need to work on my ADHD.

What do you do when you're in a rut or have writer's block?

I freak out and think I am a failure. I always talk to my wife. Also to my shrink, and close co-workers. I fish for ideas, but mostly lament. They are so nice to me, they cheer me up. When I think no one can stand my lamentations anymore, I hide and fail alone for some time. At that point, I think about changing jobs, because the suffering is intense. I become confident that people will realize that I'm a failure and I will be fired. After a lot of that suffering, eventually something happens. It's like delivering a baby, I guess.

What do you think will be the future of your field?

I think AI will do a lot of pasteurized stories and illustrations and most people will be happy about it. Still, there will be space for us — because humans can fail in ways that machines simply can not.

Any thoughts on the Pulitzer recently changing the editorial cartoon category to one that you appear to qualify in?




The Pulitzer is important because it values good work. That said, there is a lot of good work that is essential to journalism in the 21st century that is not eligible for the Pulitzer. For example: multimedia storytelling, photo editing, videos, information graphics... Just like there are Oscars for Best Picture and for Best Makeup, I think the Pulitzer could be expanded  — and I see no reason to extinguish existing categories in that expansion. 

You and Ann Telnaes teamed up on at least one piece - how did that come about?

Imagine that you get to play soccer with Pelé? That's how I felt.

Your recent work on COVID was just a data visualization of the numbers of people who died in the US represented on a map. This seems a little atypical for your work; can you explain why you chose to do it?


At the moment, my job at the Post is divided into two parts. On one side, I do visual storytelling and graphics. The other part is my column, Absurd America. One day I might only do my column. But I'm not there yet.

What's your favorite thing about DC?

I think it's a pretty city, good quality of life and not too cold (although it is still too cold for me).

Least favorite?


It doesn't have a beach and the winter is still pretty cold for me...  Additionally, I think it's bizarre how it is racially divided. But that's not exclusive to DC...  

What monument or museum do you like to take visitors to?

I think the area around the Lincoln Memorial is pleasant.

How about a favorite local restaurant?

La Limeña Grill in Rockville. Peruvian food.
 
 Do you have a website or blog?

Pecanha.org

How has the COVID-19 outbreak affected you, personally and professionally?

Worked from home for 2 years and loved it. :-)