International New York Times to End All Daily Political Cartoons
The New York Times announced on Monday that it would no longer publish daily political cartoons in its international edition and ended its relationship with two contract cartoonists.
Two months earlier, The Times had stopped running syndicated political cartoons, after one with anti-Semitic imagery was printed in the Opinion section of the international edition.
In a statement, James Bennet, editorial page editor, said The Times was “very grateful for and proud of” the work that the cartoonists, Patrick Chappatte and Heng Kim Song, had done for the international edition over the years.
“However,” Mr. Bennet added, “for well over a year we have been considering bringing that edition into line with the domestic paper by ending daily political cartoons and will do so beginning July 1.”
Mr. Chappatte wrote on his website on Monday that after more than two decades of contributing a twice-weekly cartoon, “I’m putting down my pen, with a sigh: that’s a lot of years of work undone by a single cartoon — not even mine — that should never have run in the best newspaper in the world.”
The syndicated cartoon that prompted the most outrage was a caricature of Benjamin Netanyahu and Donald J. Trump.
The Times issued an apology, saying the cartoon was “clearly anti-Semitic and indefensible.” One of The Times’s Op-Ed columnists, Bret Stephens, denounced the cartoon and wrote that The Times should “reflect deeply on how it came to publish anti-Semitic propaganda.”
In his statement, Mr. Bennet said The Times would “continue investing in forms of opinion journalism, including visual journalism, that express nuance, complexity and strong voice from a diversity of viewpoints.”
He noted that last year, for the first time in its history, The Times won a Pulitzer Prize for political cartooning — a series that told the story of a Syrian refugee family.
There are experts on Jazz out there who can describe with great eloquence what you are about to listen to and why it is important. I’m not one of them. It is just good music from great performers. I’ll let the music speak for itself.
Bebop is a style of jazz developed in the early to mid-1940s in the United States, which features songs characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing style with a new “musician’s music” that was not as danceable and demanded close listening. As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in a way that expanded their role. Whereas the key ensemble of the swing era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet, piano, guitar, double bass, and drums playing music in which the ensemble played a supportive role for soloists. Rather than play heavily arranged music, bebop musicians typically played the melody of a song (called the “head”) with the accompaniment of the rhythm section, followed by a section in which each of the performers improvised a solo, then returned to the melody at the end of the song.