A Quote by Ted Rall

I'm a better editorial cartoonist by default because so many editorial cartoonists out there are so awful. — © Ted Rall
I'm a better editorial cartoonist by default because so many editorial cartoonists out there are so awful.
I think The New Yorker's cartoons aren't very political because the people who do the cartoons aren't awfully political people, and they aren't paid to be political. I think editorial cartoonists are. That's what they do. They probably have a great natural interest in politics, and then they are paid to do it, so they sort of have to hunt out these ideas. I admire editorial cartoons, but I'm also sort of happy that I don't do them because I'd hate to have to label things and I'd especially hate, more than anything, to label something Dennis Hastert or Mark Foley.
There is too much illustrating of the news these days. I look at many editorial cartoons and I don't know what the cartoonists are saying or how they feel about a certain issue.
Orrin Hatch was the keynote speaker at the last meeting of the Association of American Editorial Cartoonists. He sought me out because he was a fan. I was thinking he had confused me with someone else.
The thinner a newspaper or magazine is - due to reduced revenue from advertising dollars - the less editorial content because of the standard ad-to-editorial ratio, and the less money there is to support investigative journalism.
Most people don't read editorial pages. I think I must have been 40 before I even looked at an editorial page.
I think there is a real value in an editorial point-of-view and in editorial curation, and in putting together an entire narrative around a set of topics is important.
I was never asked to join the Editorial Cartoonists Of America. No fraternity would have me in college, either. I think they know something.
When I first started as an editorial cartoonist, I was terrified on a daily basis. Filling that hole the next day, knowing that tens of thousands of people were going to expect something funny. There is still that pressure, but you kind of learn how to cope with it a little better.
With a standard editorial cartoon, you're taking tons of information and synthesizing it down to a single bite - a single moment in time. With animated editorial cartoons, it's more storytelling.
Eventually the consumer will come to appreciate the editorial point of view of every different brand. User-generated content without editorial oversight will simply be background noise.
My first job out of college was as an editorial assistant in a New York publishing house. Being an editorial assistant is the purgatory would-be editors must endure before they can ascend the ladder and begin acquiring books on their own. I spent a year filing paperwork, writing copy, and typing rejection letters.
I made it clear when the Barclays took over the 'Telegraph' that I wanted no editorial position there. There is no way I could take a high-level editorial position at the papers. I have my work for the BBC, and that would be compromised if I did.
Animated editorial cartoons are completely different from static editorial cartoons.
Editorial pages all say, 'Well, the other guy has a point, too. It remains to be seen how this will come out. We certainly hope it comes out fine; blah, blah.' Cartoonists don't go that way. Our job is to stick out our tongues, to show a big raspberry to whatever pompous jerk happens to be mouthing off.
We're journalists, so our default position is we're not writing editorial. We're trying to bring information to readers, viewers, so that they can make up their own conclusions.
That the Op-Ed page is very important in readers' and the nation's perception of the Times, the perception of its editorial positions, and of its implicit editorial positions as expressed by the publisher's choice of people who are given the freedom to write opinion columns.
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