inkspot 47

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www.cartoonists.org.au

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Number 41 : Wintr 2004

InkspotNumber 47 Summer 2005

www.cartoonists.org.au1300 658 581

ACA BoardPatron

Vane Lindesay (03) 9523 8635

PresidentJames Kemsley

(02) 4871 2551 [email protected]

Steve Panozzo(02) 8920 9996 [email protected]

TreasurerMick Horne

(08) 9527 3000 [email protected] Presidents

Brett Bower (NSW/ACT)(02) 9589 4717 [email protected]

Rolf Heimann (Vic/Tas)(03) 9699 4858 [email protected]

Sean Leahy (Qld)(07) 3325 2822 [email protected]

Dave Allen(SA/NT)(08) 8370 9010 [email protected]

Greg Smith (WA)(08) 9409 5026 [email protected]

ABN 19 140 290 841Inkspot is produced four times a year by the

Australian Cartoonists’ Association.PO Box 318 Strawberry Hills NSW 2012

ACA AFFILIATED ORGANISATIONSNational Cartoonists Society

President Rick StromoskiSecretary Rick Kirkman

www.reuben.orgCartoonists’ Club of Great Britain

President Terry ChristienSecretary Richard Tomes

www.ccgb.org.ukFECO

President-General Marlene PohleSecretary-General Peter Nieuwendijk

www.fecoweb.org

Australia Post RegistrationPP 533798/0015

Inkspot Insomniac: James KemsleyInskpot Prifroader: Steve Panozzo

Inkspot contributors:John Allison, Peter Broelman, Joanne Brooker,

Grant Brown, Kerry Brown, Sue Burleigh.Jason Chatfi eld, Terry Christien, Gary Clark,

Chad Corley, John Derum, Lindsay Foyle,Stephen Gunnell, Tim Harries,

Rolf Heimann, Chris Kelly, Bill Leak,Kris Mitchell, Steve Panozzo, David Pope,

Rick Stromoski, Leigh Summers,Ian C. Thomas, Amanda Trevillion

Cover caricature by Brett Bower

President’s Parlay

Phew!! What a few months it’s been since the last issue of

Inkspot! The Stanleys, The Lindsays and then, out of left-fi eld, The Walkleys, and somewhere in between a bit of work. Most times it’s a dire struggle to have enough to material to fi ll this space, that’s not the case for issue #47.

Elsewhere in this digest are full reports on all of the above so I won’t to go into detail here, other than to say the Stanleys in the Mountains again lifted the bar of the previous two years and that it was great to meet and greet members from EVERY State, as well as the always delightful, impish and cheery Alex Hallatt who, for the second year running, made the journey across the pond from New Zealand.

There was a time in the early days of the Awards where all we did, as members, was pay our money, turn up, eat the food, drink the booze, complain about the loudness of the band, collect a gong and then go home. I think we all know that is no longer the situation. The awards and - for eleven years - the tax- eductible conference only happen because of the selfl essness of a team of your colleagues who give their time and talent to pull the strings together. A few do one or two things integral to the success of the weekend, others do the whole weekend and many months beforehand.

For the last three years we have recognized the people who have been part of The Stanleys “team” with a couple of drinks and a small memento after the hurley-burly of the night has died down, or to be more accurate, before it gets its second breath and starts up again, phoenix-like, until the wee-small hours. It’s an opportunity to give them a little public acclamation for their efforts, not that any have ever asked for it, and let them know on

the membership’s behalf we all appreciate their input.

Again, from this grateful insomniac, thank you for everything blokes and blokettes- The Stanleys would not happen without you.

To end my bit on the weekend, there will be many out there glad to know the Board, for the third year in a row, kept the budget healthily in the black and, on your behalf, donated $400 to our 2005 designated charity, The Asthma Foundations of Australia and another $400 to the local Blue Mountains District Anzac Memorial Hospital for their children’s ward.

It’s only about ten months until Ballarat and The Stanleys in the Goldfi elds. The cogs were turning even before we hit Leura. Rolf Heimann and members of the Victorian Chapter have already put countless hours into making sure we maintain the lofty standard we’ve set ourselves. Get your pencil out now and circle the fi rst weekend in November for the ACA’s historic return to Australia’s Garden State.

It took 81 years, but (fi nally!) the ACA and Australian cartoonists

were lauded and applauded by the media industry, of which we have always known we are an important part, with The Silver Walkley Award for Outstanding Contribution to Journalism. This is the fi rst time in the Walkleys’ 50 years it has gone to an organization or a single profession.

Few things I have been asked to do on behalf of the ACA, during my 22 years as a member, have fi lled me with as much pride, (along with a belly full of butterfl ies), as taking the stage with a small band of colleagues to collect the prestigious trophy in front of 1000+ members of our industry.

The acceptance speech I gave on the night is reproduced opposite. I mentioned a number of names but as is always the case, I could have, and maybe should have, mentioned a few more. My apologies to the missing, it was not intentional, just a case of the aforementioned butterfl ies.

The NSW Chapter has already had an opportunity to inspect the award close-up, photograph and be photographed with it. By the end of the year, we plan to have it visit a Chapter near you. After all, it is YOUR award!

Creative scribling,

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ACA WINS WALKLEYI n the 50th year of the Walkley

Awards the Media, Entertainment and Arts Alliance has presented to

the Australian Cartoonists’ Association the Walkley for Most Outstanding Contribution to Journalism. It a great honour and should be seen as an endorsement of the work of all of Australia’s cartoonists over most of the past century. The Alliance singled out Cecil Hartt, Stan Cross, Jim Russell and Tony Rafty as iconic names that represented early success and Lindsay Foyle, Rod Emmerson, Steve Panozzo and James Kemsley in more recent times. But in reality they could have listed the entire ACA membership. The Alliance made a special mention to the contribution of artists who had come to the fore from the 1960s. “Bruce Petty’s political commentary and fanciful yet incisive creations changed the face of cartooning. And who can forget the politicians as they were drawn by Larry Pickering? Ron Tandberg (who has won more Walkley Awards than anyone else) skewered Sir John Kerr and today has fun with John Howard. Patrick Cook caught Sir Joh and his canetoads…” In presenting the award the Alliance said, “For 80 years, the Australian Cartoonists’ Association has captured Australia’s identity and united some of its best satirical and artistic minds. Their cartoons have been cut out and stuck up on the fridge, in the loo and on offi ce cubicles everywhere. They’ve been debated and collected by politicians and business leaders alike. Yet their work represents so much more.” The Alliance claims, “The spirit of artistic endeavour has etched a unique place in Australia’s media industry and it is this spirit that should be celebrated, honoured and protected. The contribution of the ACA has been instrumental both in uniting artists and cartoonists socially, and in lobbying and representing their collective interests.” When the Society of Black and White Artists was formed in Sydney in 1924 Syd Nicholls was already on the federal executive of the Australian Journalist’s Association (as the Alliance was then called)

as the cartoonist’s representative. It was a position he held till the early 1970s, about 50 years. Lindsay Foyle soon took over until the post was abolished when the union was restructured. He then moved on the NSW branch committee where he spent much of the following 20 years before moving on to the Federal Council where he’s still involved. Nicholls, along with Stan Cross (then the Society’s president) fought a long battle against the free run syndicated comics and cartoons had in the Australian media. Unfortunately, it was a battle they didn’t win. But the Black and White Artists’ Club did more than just worry about syndicated comics. From the 1920s to the mid 1950s it ran an annual fancy dress Black and White Artists Ball, which was the highlight of the Sydney social scene. In 1984 the Sydney based Black and White Artist’s Club went national and was involved with The Bulletin in establishing the Stanley Awards as a way of increasing the profi le of Australian cartoonists. The Alliance drew attention to the “list of Gold Stanley-winning cartoonists includes the names of Bill Leak, Eric Löbbecke, Brett Lethbridge, John Spooner, Joanne Brooker, Alan Moir and many more.” In accepting the Award on behalf of the Association ACA President Kemsley said:

I am proud and honoured to accept this award on behalf of the members of the Australian Cartoonists’

Association, who daily, weekly or monthly, pull readers into publications. Talents like Petty, Leak, Brown, Moir, Wilcox, Knight, Leahy, Atchison, Alston, Wicking, Farmer, O’Farrell, Spooner, Nicholson, Lewis and Broelman, all members of the ACA, have become intricate parts of your readers’ lives and vital components of newspapers and magazines across the country. For 81 years, and through a few incarnations and name changes, the Australian Cartoonists’ Association has always had members who were central in the continuing struggle for circulation. The names of old cartoonists are as familiar as old prime minsters... but better

remembered. The now iconic, and even legendary, artists like Norman Lindsay, Jimmy Bancks, Stan Cross, Jim Russell, May Gibbs, Les Dixon, Alex Gurney, Bill Mitchell and Paul Rigby were all in the frontline of the relentless battle for readership. They all became household names and were searched out daily and welcomed like a visiting uncle with a large block of chocolate. Australian cartoons and comic strips have always been enjoyed by Australian readers, they still are. As a kid my favourite strips were always Australian. Weren’t yours? Wally and the Major, Uncle Joe’s Horse Raddish, the Potts, Bluey and Curley, Fatty Finn and yes... Ginger Meggs. Readers in the “olden days” wanted to see their lives refl ected in the pages of their newspapers. I believe they still do. Is it a matter of money? I doubt it. I know personally more is spent on coffee and Tim Tams, or maybe it’s cookies, at some newspapers than is spent on Aussie content on the comic page. We could rectify the situation by having Scotch Fingers once a week instead. Or better still have Aussie biscuits instead!

Is it that they are not up to contemporary professional standards? Doubtful! When you look at what some Australian strips are doing on the world market. Gary Clark’s Swamp is one of the most successful strips in Scandinavia, Tony Lopes’ Insanity Streak runs daily in London; Beyond the Black Stump amuses people in Asia; Snake, for thirty years, has always enjoy massive overseas popularity; my kids’ schools are grateful that Ginger Meggs currently is syndicated to over thirty different countries. Without our own culture we lose our identity... then our soul.

The Australian Cartoonists’ Association would like to thank the Alliance and all the people involved in the Walkleys for giving us this award and, unlike many of issues that come before us, it will never be treated as a joke.(Below from left) James Kemsley, MEAA Federal

secretary Christopher Warren, Bill Leak, Kerry Millard, Peter Broelman, Cathy Wilcox, Brett Bower

issues that come before us, it will never be

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www.fecoweb.orgFECO

Federation of Cartoonists Organisations

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PANPAPACIFIC AREA NEWSPAPER PUBLISHERS' ASSOCIATION

In recent times there has been a steady growth in the number of articles appearing in the

newspaper publishers’ industry magazine, the PANPA Bulletin, that directly relate to our own beloved industry . Like icebergs in a vast ocean we should take note of these articles when they appear. Remember, that like icebergs, it is not the obvious tip that is the important thing. It’s what lies below the surface that matters most. Being aware of them makes good sense . It is all too easy to sail serenely on our way, letting each one pass by to

fade out of sight and out of mind in our uninformed wake. So, having said all that and got all the maritime allegories off my chest (I recently bought my fi rst tinny) may I direct your attention to this month’s PANPA Bulletin. Articles of special note to cartoonists are many, I counted at least ten. (Including one in honour of the our very own Peter Broelman and his recent Stanley for Cartoonist of the Year). Congratulations again Pete! However another article that also grabbed my attention is found on page 51 - “Norske Skog pledges more fi nance to attract young readers”. Briefl y, the article is about a Swedish newsprint supply company which is taking action, and spending millions of dollars in committed long-term support of a project aimed at newspaper publishers worldwide, to politely encourage them to attract young readers so that newspapers (and newsprint supply companies) have a future.

Norske Skog believe its ongoing and increasing fi nancial support of this project “makes social and business sense .“ The project developed by the World Association of Newspapers (WAN) is dedicated to “the work of winning new generations of readers for printed newspapers” and is considered by WAN as “the most important and challenging job facing the industry in coming years.” THIS IS ENCOURAGING NEWS! A company in partnership with a worldwide industry organization is committed to the specifi c goal of winning young readers to newspapers . Their aim is our aim. Surely it presents an opportunity to add our own message to this campaign and provide part of the solution. That is, cartoons have a unique and proven ability to attract and build readership habits in young readers. After all, newspaper cartoons were invented with this very objective.

The ACA is an associate member of PANPA. Swamp creator Gary Clark is the

ACA Board’s liaison offi cer to PANPA.

PANPA BULLETIN... AT A GLANCE

by Gary Clark

FECO UK member Sue Burleigh is a nurse/cartoonist who, from

July to October, embarked on an 80 day trek around most of Europe and some of the Middle East, collecting cartoons en-route to raise money for Comic Relief. and meeting up with many fellow FECO members on her travels. With Sue’s kind permission, here are some brief extracts from her online diary.

PARIS 27th JulyIn the afternoon met up with Richard Erikson. He is a cartoonist and also runs a website on Paris called The Metropole. We walked up to Le Plage, a length of road alongside the Seine which has been closed off and made into a beach! It has sand, swimming pools, musicians and dancers. A lovely place and all free!

BRUSSELS 29th JulyI got up early and went on a cartoon trail through the streets. You get a map and walk around the town experiencing the cartoon logos painted on the walls. In the afternoon I spent hours at the Museum of Comic Strip Art. Artwork and displays of course by Hergé’s Tin Tin, The Smurfs, Felix the Cat, Baba Papa and many originals by well-known Belgian strip cartoonists. Brussels is defi nitely the cartoon capital of the world!

STUTTGART 30th JulyArrived Stuttgart around 11:08. Marlene Pohle was there to greet me with her Argentinean fl ag. Caught the metro to her studio and had a bite to eat, then Marlene had a very patient hour whilst I used her computer to send photos: not easy as her computer has German instructions! Walked into the town centre to see a St Christopher’s Day parade. Marlene got busy sketching: she is a wonderful cartoonist and draws from every day people, who she then puts into her cartoons.

ZEMUN 11th AugustMet up with Branko Najhold in Zemun. I last met him at the Ayr Cartoon Festival in 2002. We did a walking tour of Zemun and Branko was the perfect man for the job as he has written most of the books on the town’s history. Branko also gave me a lovely book of cartoons from Zemun and the surrounding area.

ST JUST FESTIVAL 27th SeptCaught train to Limoges. (Beautiful train station there, like a Cathedral) Caught local bus to St Just Cartoon Festival... bus dropped off right outside Event. Introduced myself and was made immediately very welcome by everyone. Met up with Bernadette who made sure I was sorted for a French Host family .. (and wanted to know what I had been up to over the weeks!) - French family I was to stay with were absolutely delightful on a lovely farm, and with

teenage children all anxious to practice their English .. they were perfect hosts. St Just Festival is amazing. It runs for 2 whole weeks and invites cartoonists from all over the world to exhibit their work. There were over 200 cartoonists there all fed and lovingly cared for by our French hosts. There are musicians, dancers and so much food and red wine fl owing. The atmosphere is so very friendly and inspiring. The cartoonists are all drawing

away frantically and there are cartoon displays everywhere. I set myself on

a table to draw for children, and had a great time with my

poor French skills and the children miming what they wanted me to draw. My French improved rapidly, and the children were so cute. I was

drawing everything, lots of dolphins, cats, dogs, hamsters, horses, tigers and funnily enough l‘escargot as well. It was certainly a good variety and the children kept me busy.

UK 7th OctoberFlew to Gatwick and caught the train back to Poole and home and Rachel. What an incredible adventure I have had, and what a shame it had to fi nish. I could of kept on going quite happily, but in real life these things have to fi nish, until next time when I plan my next adventure.

To read more of Sue’s adventures, go to her website at http://www.wheelbrace.net/

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Peppers Fairmont Resort, Blue Mountains. Was there a better

location to be found for the 2005 AGM? I think not. It was there that twenty-fi ve of Australian cartooning’s bravest souls convened to propose, debate and deliberate various affairs of state. Now, it must be said that these things have been known to be fraught with violent outbursts, frequent accusations and frayed tempers. In the “bad old days”, when someone thought it was a great idea to hold the AGM the “morning after”, it was always a battle with the inevitable hangover. In 1988, a particularly nasty ‘fl u and heavy night took their toll on then-President James Kemsley, who had to spend most of the AGM in the land of nod behind a room-divider. This year, it was a particularly healthy (and gym-fi t) Kemsley who chaired the meeting, composed of 25 tired-but-sober ACA members, with nary a fl ared nostril between them. Among matters addressed was the issue of whether we should revert to giving each artist a page for their entries, rather than a half page as we currently do. It seems such a change would have meant spending an extra $4,00 on printing alone. At present, postage has been kept (by the skin of our teeth) minimal by ensuring the book weighs in at less than 500g... one gram above and postage jumps $4 per book. Add the extra printing turn-around time, and we’re in no-brainer territory. The quest to redesign the ACA logo has hit a snag, with the dozen or so entries so far receiving failing to ignite the passions of various Board members, so the deadline has now been extended until 31 March. So get scribbling!

If there was a jewel in the crown at the 2005 AGM, it was Mick Horne’s Treasurer’s report. In short, it revealed that the ACA’s income for the 2004-2005 fi nancial year was $35,000 (approx.) more than the previous year, with a $37,000 (approx.) increase in expenditure for the same

year. Our Stanleys’ sponsors enjoyed the exposure whilst they contributed to one of our most successful events in years. Inkspot expenses went up by $4,000, we donated more than $1,500 to charity, but we paid $700 less in tax. After 3 years of growth, our end-of-year assets now exceed $50,000.

Prez Kemsley aims to put together a cartoonists’ benevolent fund (similar to the NCS’s Milt Gross Fund) and the meeting voted to investigate the creation of one. The bank balance now provided a healthy hedge for a “rainy day”, particularly if the economy takes a downturn and sponsors are forced to discontinue their relationship with us. Kemsley’s President’s Report was next, where he made mention of each State Chapter’s activities during the previous twelve months and the current healthy state of the ACA, fi nancially, its growing professional reputation within the media industry and amongst cartoonists and the challenge ahead to keep the momentum rolling during the fi nal year of the Board’s term. In keeping with the newly-adopted policy of adopting a different donation benefi ciary for each Stanley Awards auction, the meeting then did a bit of brainstorming, suggesting potential 2006 charities from the fl oor. Suggestions included Cystic Fibrosis Australia, the Clown Doctors, and the Royal Blind Society. The Board will now take these onboard when deciding the charity for 2006. Sean Leahy then introduced us to a new ally - Linda Linley, CEO of Illustration House in Brisbane, who briefl y addressed the meeting. Illustration House is a new state-of-the-art facility in Brisbane, which provides a meetings/conference centre for the arts community and recently hosted the Queensland Chapter’s Cartooning in the Internet Age mini-conference. And, then, it was all over - the room was prepared for the start of the 2006 Cartoonists’ Conference, and everyone fi led out looking for a nice hot cuppa.

Due to changes in his work circumstances over the last eighteen months, long serving

South Australian Chapter vice-president John Martin has reluctantly resigned from the position. In accordance with the ACA Constitution the Board has appointed Dave Allen (left) to fi ll the void created by Martin’s resignation for the remaining twelve months of its term. Allen, who served as SA VP in 1999-2000, has been a freelance cartoonist for almost 20 years. From his Adelaide home he produces the daily comic strip Doghouse and the children’s puzzle page Kid Stuff. He also contributes to the monthly pre-school and primary newspapers Just Kidding. His work is currently published in the Australia, UK, Asia and Europe. Welcome aboard, Dave!

Secretary’s 2006 AGM ReportLetters to the editor

During Stanleys 2005 the role of the “modern” ACA was a much- discussed topic of conversation amongst those attending the weekend. In the past months it has also been a popular thread on the ACA forum. It was suggested it would best be aired in Inkspot to which we received the following email. - Ed

I came across a copy of that email recently which canvassed a member’s opinion about the role of the ACA and the Board in regard to the members etc. As late as it is I would like to respond briefly. I generally agree with all that the Board has been enacting in order to connect with international organisations and other extrovert actions. The idea of remaining solely a “social club” is, genteely put, an anachronism in our current age of the UberNet. In my 20-odd years in the game I have not seen any guild or organisation successfully make inroads into getting an industry agreement with big publishers that ensures a consistent minimum set rate for freelance illustrators and cartoonists. It’s probably Utopian. I would love to see it happen someday, no matter what group took that on. I think it should be all groups, including the ACA, in coalition ideally. I also really appreciate the ACA’s fostering of the Forum, Internet news, Inkspot and pointers toward experts who deal in legal necessities.

Phil SomervilleLawson NSW

You can let your colleagues know your view in these pages. Email:[email protected] write to: PO Box 318 Strawberry Hills NSW 2012. Alternatively post on the Forum:www.cartoonists.org.au. - Ed

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Combining traditional pencils, inks and gouache with Photoshop, Flash and Painter, the show covered veteran Heinrich’s recent comic book, magazine and game work, while debutante Fosdike enjoyed the opportunity to show off his comic book, advertising and music poster art.

Held at the famous Exeter Hotel, a notable meeting place for artists and musicians at the bohemian end of the city, the show was an outstanding success and carried over for a further fortnight due to popular demand.

Heinrich is currently drawing The Spooky Book, a major children’s book project for the US and UK with Little Hare Books, while Fosdike has just completed a book for noted underwater photographer Shane Batham and will be launching a range of Visualante t-shirts.

Twenty fi ve, or so, thirsty cartoonists converged on Smithy’s Bar and Grill to celebrate Christmas and present the WA chapter’s annual Riggers award. The award is named after WA cartooning legend Paul Rigby. The statuette is modelled after his trademark urchin and dog characters. The award is presented to a local member who has made an outstanding contribution to Western Australian cartooning. The recipient of 2005’s award was ACA legend Mick Horne (above). He has been a club stalwart for many years; fi rst as WA vice-president and now as our venerable Treasurer. Whilst he was WA VP he lifted interest in the ACA enormously and increased local membership substantially.

Horne’s cartoons appear regularly on Perth’s ABC website and was the editorial cartoonist for newspapers in the Mandurah region for a number of years.

We tips our lids Mick... a most worthy recipient!

Excellence in Artwork with his illustration (below) from The Australian, No Cheap Route to Defence, in which he depicted an ageing Sea King helicopter as a museum display of dinosaur bones.

The illustration followed the crash of the Sea King on the Indonesian island of Nias in April 2005, which killed nine relief workers.

The judges saw the illustration as “graphically original and an arresting comment”. It was “both satisfying and ingenious”.

Also nominated for the award were Tom Jellett for his illustration, Global Warming from the Weekend Australian and The Bulletin’s Neil Moore for a caricature of John Howard.

The coveted 2005 Gold Walkley was awarded to the ABC’s Tim Palmer, for his excellent reports on the Ache tsunami and the Jakarta Embassy bombing.

South Australian illustrators Dave Heinrich and James Fosdike recently held an exhibition of nineteen digital prints for the SA Living Artists Festival.

It was offi cially launched by the artists’ mutual mentor Glenn Lumsden. The opening was attended by several of Adelaide’s best cartoonists, including Peter Broelman, Brendan Boyd and Dave Maher, along with many fellow illustrators, animators, graphic designers, printers and tattoo artists.

P a r zThe 2005 Walkley Awards

At the annual Alliance black-tie ceremony at Sydney’s Luna Park, The Age’s Andrew Dyson picked up his second Walkley award in as many years, with the Best Cartoon award for his two-panel gag John’s Green Day (below). The cartoon portrays John Howard’s “hither to unsuspected concern for trees”, alluding to the reason for the PM’s last election victory.

The judges commented the piecewas “simple, clever and original” adding that “the line was strong and simple, the imagery clear and a clever juxtaposition of tree hugging and ringbarking was used to great effect to question political expediency”.

The Australian’s Peter Nicholson and The Financial Review’s Rod Clement were also nominated for the award.

News Limited’s Eric Löbbecke received his second Walkley for

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Even though the booking of the Il Gambiro had been confi rmed, Victorian cartoonists found their customary upstairs room let to another, larger party. (Dare we say overtones of the Canberra Stanleys in 2002?) The always smiling and quick-thinking Lila Heimann charmed a neighbouring establishment into letting the giggle of assembled cartoonists use their upstairs room, but not before some guests had left. So the Christmas party proceeded, but on a limited scale.

Victorian cartoonists voted to continue their meetings every two months, but on the fi rst Tuesday, starting in February. And to avoid being mucked around again, meetings will be held in the Heimann residence, 170 Mills Street, Albert Park.Luckily they have an Italian take-away right across the road. As well ACAers should save money bringing their own wine! There will be no paper plates.

Melbourne scribbler Robert Mason recently had to undergo a twisted bowel operation, but fortunately was released from hospital in time to celebrate Christmas at home. He feels decidedly better and he and his wife Veda are looking forward to attending ACA meetings again.

On behalf of the Victorian cartoonists Lila and Rolf Heimann visited him in hospital and witnessed with their own eyes how Mason attacked a Spanish omelette. Not a bad sign!

Our best wishes for a full and speedy recovery R.I.M!

American editorial cartoonists have staged their own protest, Black Ink Monday, prompted by the Tribune Company’s decision to sack editorial cartoonist positions at several large dailies. 80 cartoonists created their own opinions published across America lamblasting Tribune and criticising the detrimental effect of beancounters on the newspaper industry. The AECC’s website described Black Ink Monday, as a “nonviolent protest by the Association of American Editorial Cartoonists, and a response to the Tribune Company’s recent elimination of editorial cartooning positions at several of its newspapers, as well as a commentary on newspapers everywhere who have lost sight of the value of having a staff editorial cartoonist.”

“Over the last 20 years, the number of cartoonists on the staff of daily newspapers nationwide has been cut in half. In the last month alone, the Tribune Company (owner of the Chicago Tribune, Los Angeles Times and a half-dozen other prominent papers), has forced out well-known and award-winning cartoonists at the LA Times and Baltimore Sun, eliminating their positions entirely.”

“Now, editorial cartoonists are responding to these cuts, in the best way they know how - by throwing ink.”

A compilation of 125 cartoons can be viewed online at editorialcartoonists.com.

Leigh Hobbs has returned from a successful promotional tour through the USA. Apparently he was blown away by the hospitality of the Yanks and he had good reason to be pleased with the reception of his children’s books. A short fi lm about Hobbs by Rolf Heimann will be shown at the Victorian cartoonists’ fi rst meeting on February 7th, 2006.

Queensland cartoonists were busy in December with a series of cartooning workshops at The State Library of Queensland. The workshops are a regular hit with kids and one of the State Library’s most profi table activities.

ACAers doing their bit to further the art form included Gary Clark and Joanne Brooker along with a small troop of banana-bending scribblers.

Still in the Sunshine State, former comic strip collaborators Sean Leahy and Gerard Piper recently emerged as budding radio stars. Leahy is a regular panellist on the popular ABC 612 4QR radio show The Panel of Experts. Leahy and three stand-up comedians go to air live each Monday night from the Brisbane Powerhouse Theatre in front of a live audience to add to the pressure.

Meanwhile Piper had been serving his local area with a community radio spot when his popularity got the attention of a Sunshine Coast FM station. Currently he is doing a morning breakfast program three days a week and getting paid for his fl ourishing on air talents.

The NSW chapter Christmas function was a family affair with members and families gathering at Sydney’s Luna Park to wet the head of the newly acquired ACA Walkley Award in the venue where it had been presented at the beginning of December and to enjoy the facilities of the famous amusement park. NSW VP Brett Bower’s nearby Cartoonist Shop was the obvious meeting place!Le

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For those who couldn’t make it, those who wouldn’t make it and those who did make it but can’t remember much, LINDSAY FOYLE gives his annual rundown ofthe ACA’s big weekend.

J ust on 100 kilometres west of Sydney is the Blue Mountains town of Leura, which was the home for the 2005 Stanley Awards over the weekend of

November 4, 5 and 6. For many the 11:00am train from Central Station was the start of the weekend. After booking in at the Fairmont Resort there was just enough time for a quick drink before the coach departed for the Stop Laughing Gallery in Blackheath. Ian and Elizabeth Dalkin host many exhibitions of cartoons there and on this occasion it was a presentation on animation by Mark Trounce. There was also refreshment for anyone needing sustenance as it had been over an hour since lunch.

After everyone was suitably informed on animation and revitalized, the coach headed back to the Fairmont after a stopover at the Katoomba scenic railway. By six that evening it was off to the Norman Lindsay Gallery in Springwood for the welcome cocktail party and cartoon exhibition. Drinks and finger food stopped most feeling faint from hunger. Dinner followed at the Alexander Hotel in Leura - for those with fading stamina - before everyone headed back to the Fairmont for a good night’s rest. There were those who didn’t have the

Leura 2005

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strength to make it back to their rooms and were forced to stop off in the bar for a drink or two just to keep their energy levels up. The AGM kicked off on time at 9:00am on Saturday - just after breakfast - and the conference got underway at 10:20am after morning tea. Over the past 11 years the conference has been growing in popularity and this year about 60 people attended. Chad Corley from Viscopy got proceedings underway talking about Money Matters followed by David Spencer from Wacom and Richard Dodd from Corel. Unfortunately, Spencer’s and Dodd’s talks proved so popular that few wanted to move into the next room where Chris Kelly was demonstrating how to use the equipment they were talking about. When everyone realised what they were missing it was hard to prize them away from Kelly to listen to Ben Morgan and Catherine Anselmi giving an overview on Mac courses. Order was eventually restored when starving delegates dragged themselves into lunch.

With energy restored and tummies full everyone then copped an ear full when the Inky Ladies, Jo Brooker, Alex Hallatt, Fiona Katauskas, Kerry Millard and Judy Nadin explained they would rather be known as cartoonists than female cartoonists. This was followed by a panel discussion by Helen Glad, Lin Bloomfield, Norman Hetherington and Allan Donnelly on Norman Lindsay.

Afternoon tea gave everyone a chance to reflect on the day so far and Bill Leak and Mark Knight set up shop in the foyer to sign copies of their books. Rolf Heimann then gave a well-presented talk on the negative side of cartooning. The conference came to an end when Allan Salisbury gave everyone an insight into his life and the success of his reptilian creation Snake. Delegates had just enough time for drink in the bar before changing for the Stanley Awards which were due to kick off at 7:00pm.

After pre-dinner drinks and an “a cappella” performance from Dog Walking Backwards, Warren Brown took charge as MC for the night. A glass or two of wine, accompanied by Rikki Organ impersonating some of Australia’s best entertainers, got the evening off to a great start. After the food started to arrive Mikey Robins gave everyone an understanding of why he’s one of Australia’s top comedians. The first trophy of the night went to Jason Chatfield who picked up The Australian’s Bill Mitchell Memorial Award.

Tony Lopes collected the Rural Press Comic Strip award, which he’d also picked up in 2003. Matt Golding put his hand around the Thomson Education Direct Single Gag Cartoonist award to keep company with his 2001 trophy. David Pope had won Corel Humorous Illustrator award in 2001, 2003 and 2004 but didn’t complain when he collected a fourth. Tom Jellett was a first-time winner with the Viscopy General Illustrator award. The Wacom Digital Illustrator award went to John Shakespeare as it did in 2004 and Brett Lethbridge collected his third Apple Centre Taylor Square Caricaturist trophy. Last year’s winner of the The Daily Telegraph Editorial /Political Cartoonist award, Peter Broelman, was very happy to be back on stage to make it two in a row. If that wasn’t enough, he backed it up with The Australian Cartoonist of the Year. Bill Leak became the evening’s auctioneer and Allan Salisbury, who was busy celebrating 30 years of drawing Snake, managed to collect The Jim Russell Award for his contribution to Australian cartooning.

To teach him a lesson for all his hard work for the ACA Jason Chatfield was smocked for his trouble after the formal part of the night. All the excitement proved too much for some and they retreated to the bar. Well, nobody ever confused a cartoonist with a camel did they?

There is no truth to the rumour that several cartoonists were still in the bar as breakfast was being served on Sunday. But one or two didn’t look good as they boarded the coach at 10:00am for Blackheath Oval, the Mayor’s Farewell Barbecue, a game of cricket and a drink or two.

9


AppleCentreTaylor SquareCaricaturist

Will GoodwinSturt KrygsmanBrett LethbridgeSimon SchneiderJohn Shakespeare

WacomDigital Illustrator

Tony BelaPat Campbell

David de VriesMichael Perkins

John Shakespeare

ThomsonEducation Direct

Single Gag CartoonistPat CampbellMatt GoldingWill GoodwinJon Kudelka

Andrew Weldon

CorelHumorous Illustrator

Ross BateupGeorge HaddonEric Löbbecke

Reg LynchDavid Pope

ViscopyGeneral Illustrator

Tony BelaTom Jellett

Sturt KrygsmanGeorge HaddonEric Löbbecke

The Daily TelegraphEditorial/Political

CartoonistPeter Broelman

Mark KnightJon KudelkaSean LeahyDavid Rowe

Comic StripCartoonist

Michael Atchison Gary ClarkSean LeahyTony Lopes

Allan Salisbury

Best cartoon drawn at the Stanleys conference using a Wacom tablet

and Painter IX softwareJohn Farmer

AppleCentreTaylor SquareiPod winners

Jason Chatfi eldBrett BowerAlex Hallatt

d’Arenberg WinesCartoon on the Night

“Three Sister & Wine”Dave Follett

The AustralianBill Mitchell Award

Jason Chatfi eld

Jim Russell Awardfor Contribution to

Australian CartooningAllan Salisbury

The AustralianCartoonist of the Year

David PopeDavid Rowe

Peter BroelmanSean Leahy

Sturt KrygsmanMark Knight

Stanley Awards Nominees 2005(recipients in bold)

The Class of 2005 (left to right) Jason Chatfi eld, Dave Follett, Allan Salisbury, Matt Golding, Peter Broelman, John Shakespeare, David Pope, Brett Lethbridge, Tony Lopes and Tom Jellett

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comic for the American market when they painted the guns out of the gangster’s hands. Almost as quickly as a gangster can produce a gun from a violin case he developed The Old Timer, which fi rst appeared in the Daily Telegraph in October 1974 The old timer drank more than the judge but was reluctant to buy a round. There were many other characters in the strip including a kangaroo, a con man, a fl ying doctor, a lost tribesman, his wife and Crazy Croc. In July 1975 the Sun-News Pictorial also started running the comic, but it wasn’t making the impression Salisbury wanted. In 1976 he introduced a new character to the

cast, Snake. He soon slithered his way to become a regular and before too long had taken over. So much so, that the

comic was renamed Snake Tales in 1978 and Snake’s been running the show ever since. To punish him for

his pushy ways, Salisbury almost always draws him as a loser.

While Snake may be a loser Snake Tales is not and has appeared in

over 450 newspapers (both daily and Sunday) in North America,

the UK, parts of Europe, South East Asia, South America and the Middle East and has been translated into a number of different languages. Allan was the fi rst Australian cartoonist

to sell a daily cartoon strip to a major US Syndicate

for international distribution and the only cartoonist outside America to have achieved this twice. Sols lived for a short time in Westport, Connecticut in the early eighties, when his cartoon work was being marketed worldwide by United Media Enterprises in New York. Finding the American lifestyle a bit hard to take, he returned to Melbourne in the mid-eighties and in 1989 moved to Tasmania to live in Launceston. In 2000, Snake became the fi rst Australian cartoon character to be used as a logo for an American sporting body, the Valley Vipers, a professional baseball team in Scottsdale, Arizona. Although a great honour, it was as befi tting Snake - the ultimate born loser - that no money ever changed hands.

Allan John Salisbury picked up the Uncle Dick award at the 2005 Stanley Awards, in part because he’s been drawing Snake for 30 years, in part because it’s very funny and in part because he’s one of the most successful comic strip

artists in Australia. Salisbury was born at Kyabram, Victoria in 1949. At school he collected the nickname of Sols and has been using it ever since. He began his working career pushing a broom at Cyclone in Melbourne before moving on to wrapping parcels. From there he worked his way into advertising & marketing in the late sixties. By the early seventies he’d formed his own graphic art studio and was also working as a freelance cartoonist. Exciting as some of these jobs were, his big interest was always comics. He began working on a pantomime strip called The Ludicrous Life of Lennie the Loser that had a touch of autobiography about it. After some discussions about the comic with WEG (William Green) he was advised to fi nd an agent. WEG sent him to talk with Sol Shifrin who was running a syndication agency and he advised Sols he’d be better off if he developed a comic with dialogue. He followed that advice and in September 1973 produced a comic strip about an American gangster set in the 1930s. Fingers and Foes became the fi rst Australian comic strip taken up by an American syndication group before it had been published in Australia. Eventually Publishers-Hall had the strip appearing in dozens of North American newspapers including the Chicago Sun-Times, Dallas News, Philadelphia Enquirer, Miami Herald, Vancouver Sun and the Winnipeg Tribune.

However Fingers ran into trouble almost as soon as the ink was dry. The Americans had problems distinguishing between real

life and a comic. They objected to Salisbury’s use of a hanging judge who had a bottle of whisky in one hand and a gavel in the other as he sat in judgment. Salisbury sobered up the judge only to fi nd the Americans then objected to his use of a bra shop as a front for Fingers and his mob. A little over a year after it started Salisbury decided it might be better not to continue drawing a

The Jim RussellAward 2005

Allan ‘Sols’

SalisburyLindsay Foyle profi les a most deserving winner

of the ACA’s prestigious Uncle Dick

11


John “Stonie” Stoneham was the editorial cartoonist at the time. He was also the motoring writer and occasionally had to go away on assignment. Broelman fi lled in for him including the 4.30am starts, which he found “were something else!” He was thrown into the deep end, learning a couple of good lessons that would later come in handy:1)Don’t read every news item.2)Don’t watch every news bulletin. Broelman says, “I tried too hard to cover everything. And it showed. I overdid the effort and didn’t concentrate on the opinion.”

In May 1992 The News folded. Rupert Murdoch had bought The Advertiser and The News spiralled into insignifi cance making him offi cially a freelancer. Needing to make money he wondered what it would be like to draw a comic strip. He called several cartoonists Alan Salisbury, Gary Clark and James Kemsley asking them what it was like. They were honest and told him that comic strips were a bloody hard slog in a shrinking market. So he wrote daily comics off as an option. But he did think a weekly strip could work and created a strip called Wildlife and pitched it to People editor David Naylor.

“In hindsight it was crap,” says Broelman. “But they took it on and Wildlife lasted two years. Sportmates followed, again in a half page format, and lasted a good part of a year. Another editor asked for another strip and over a weekend

Cartoonist of the Year 2005

Peter BroelmanI devised Ratbags – two unemployed scumbags. That had a good run until 2004 and was also published in Holland and Norway. Some 500 half-page colour strips were created. Ratbags was a great experience and allowed me to travel overseas. Other specialty strips were also created for People, VirginGirl and Starlet Harlot. After 12 years, my association with People magazine came to an end. I was done with adult cartoons.”

In the back of his mind was an urge to return to editorial cartoons. In 2003, Rockhampton-based Rod Emmerson left the APN group to take up residence at the New Zealand Herald. Broelman sent in his portfolio to APN and got the job. He continued to work from Adelaide for 15 months before being unceremoniously dumped three weeks after winning the 2004 Stanley for editorial cartooning. He says, “Go fi gure! It was a great time and I enjoyed the editorial approach. It was so different, if not easier, than the comic strip scene. News items provided the brief. With comics you have nothing to kick off with.”

He rebounded by keeping hold of a handful of regional papers and joined Australian Associated Press (AAP). He’s now creating six editorial cartoons a week and they’re seen across the country from Bowral to Geraldton. He also contributes to The Independent Weekly in Adelaide. He has a love of caricature and would list MAD’s Mort Drucker as his all time favourite. Although he didn’t copy his style, a bit of Mort’s infl uence can be seen in his caricature work. Editorially Bill Mitchell was “my darling of political cartoonists,” says Broelman. “His draughtsmanship and wit was fi rst class yet I never had the opportunity to meet him.”

“Being a member of the ACA has been pivotal in my career so far” said Broelman. “Being a freelance cartoonist who works alone in a former dining room can be isolating at times (the good part is I can go to work in footy shorts and tank top, but Christmas dinners and secret offi ce romance are out). ACA colleagues, both local and interstate have become invaluable friends. Anyone who can sit on a bloody phone and instruct me to process a cartoon into CMYK format is a champion! Thanks Kemsley!”

“I still hate going over the line when I colour in.”

Peter Broelman collected the Editorial Stanley award in 2004 and followed it up in 2005 with the Editorial Stanley (again) and

Cartoonist of the Year. Not a bad effort for a lad who was born in Elizabeth, SA in 1968. As a kid he was asthmatic, which prevented him from playing sport and to fi ll in the time he drew. He says he “can recall drawing car crashes and dead people when I was 6. I thought that was a lot of fun. But my parents didn’t share the same enthusiasm.” His father worked in the construction industry, which caused the family to move around. He was eight when they moved to Albury. From there it was on to Toowoomba, Maroochydore and Wyong on the NSW Central Coast before heading back to Adelaide by the time he was 14. He says he “bumbled” his way throughhigh school, not showing any particularenthusiasm for art as a subject.

“However I did doodle a lot and enjoyed the reaction from schoolmates,” he says. “I made friends by drawing dumb pictures, a bit like now.”

After passing Year 12 in 1986 he had no idea what to do. The options included university, Holdens and cartooning. It was his father who encouraged him togive cartooning a go, saying “you’ll never knowif you don’t give it a go.” Broelman says, “years later it’s all I know.” He started studying part time for an Associate Diploma in Graphic Design at the SA College of Advanced Education. During the day he submitted gags to Australasian Post and had a few published at $25 a hit.

He was a big MAD fan and started writing and drawing satirizing pop culture subjects such as Hey Dad, Neighbours, Kylie Minogue just to name a few but as he says the “money was crap.” The Associate Diploma was a four-year course but “bored me to tears” says Broelman. “Business cards, letterheads and packaging frustrated me. After 3 years and 6 months I bailed.”

He created a resume of caricatures and had them printed and mailed them off to newspaper and magazine editors. The editor at The News took notice and called him in and he was soon contributing on a semi-regular basis. In a short time he’d graduated to a regular basis and was drawing caricatures and general illustrations.

2005

Peter BroelmanRatbags – two unemployed

scumbags. That had a good run until 2004 and was also published in Holland

Lindsay Foyle chats with SA’s man of gold

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Layout: Chris Kelly

Photos:Grant Brown &

Kris Mitchell

20


T he Norman Lindsay Gallery and Museum at Faulconbridge was the venue for a cocktail evening to launch the 2005 Stanleys conference in the Blue

Mountains. The evening was also the opening night for The Lindsays Cartoon Awards 2005 exhibition, which was held in conjunction with the Australian Cartoonists’ Association. The Lindsays were named after famous Australian artist, author and cartoonist Norman Lindsay (1879-1969) and cartoonists were invited to submit their ideas on the theme of food. During the opening speeches, Norman Lindsay’s granddaughter, Helen Glad described what life was like with a genius for a grandpa, and the Honourable Bob Debus gave an entertaining explanation of his relationship with political cartoonists. The gallery received over 270 entries for The Lindsays, with cartoons submitted from 21 different countries. 56 works were short-listed and included in the exhibition. The judges were Helen Glad, Vicki Sefton from Fitzgerald Printing, sponsors of the awards, James Kemsley and Phil Somerville from the ACA.

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by the Norman Lindsay Gallery and Museum’s AMANDA TREVILLION

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Manager of the Norman Lindsay Gallery, Amanda Trevillion announced the winners at the Stanley 2005 awards dinner at the Fairmont Resort on Saturday evening and Helen Glad presented the three winners with their prize money and special Lindsay’s trophies. Victorian, Matt Golding was the outright winner, and took away $1,500; second Prize of $1,000 went to Noel Ford from Wales, and George Haddon also from Victoria won third prize of $500. It was a special moment when footage was played of Noel Ford accepting his award all the way from the UK. Highly commended entries came from Australia, Korea, Iran, Bulgaria and England. The Lindsays Cartoon Awards will be on exhibition at the Norman Lindsay Gallery until early February 2006. As well as the short listed cartoons, the gallery also has on display some of Norman Lindsay’s original oils, watercolours, etchings, Bulletin cartoon work and characters from his classic children’s book The Magic Pudding.

Helen Glad presents Matt Golding with his Lindsay

21


2121


I n Shakespeare’s time a satirist risked having his tongue trimmed or his right hand cut off, or the

word rogue branded on his forehead with searing hot irons. And some mornings, being Attorney General, I have thought of reviving these laws. Why, in these times of terror, and the rumours of terror, I ask myself, should only cartoonists enjoy unfettered free speech, and the right to mock, for instance, the Attorney General of the day? Why should they among all professions have a 007 licence to insult? To insult even, for instance, the Attorney General of the day. But then I have a cup of tea, and pensively over my Vegemite toast look at the harm Bill Leak or Bruce Petty or Ron Tandberg has this morning done to John Howard or Peter Costello. And I remember I’m also Minister for the Arts,

and these irritating, buzzing wasps around the body politic are also, apparently, national treasures and therefore beyond my present punitive reach. More importantly, they are the pressure-valve that lets off built up steam that else might erupt into a volcano of revolution. Without cartoonists, I refl ect, the voting public might soon become as aggressive and as dangerous as soccer crowds, and none of us would be safe. So I wish to pay tribute to you all tonight for the good work you have done in service to us, the ruling class, by way of crowd control, protecting our privilege and our costly life-styles and our white cars and our free tickets and our gold passes from the unruly mob who would otherwise be guillotining us in Martin Place. You are in this respect, and I thank you for it, the boy scouts of the modern polity, helping us elderly politicians across the street, and fending off the dangerous, roaring traffi c of those who cry out for social reform with your sugar-coated pills and your shrugs and smirks and emollient, witty Christmas cards. I know you, and I see through you! Please do not think that by this I mean you are impotent, amusing eunuchs the Emperor occasionally enjoys a bunch of grapes and a laugh with, and lets go with a warning. No, what I think is more comforting, and more complimentary, more false and fl attering than that.

Y ou are the torchbearers of new thought in the universe. For each joke is a small, new, novel, perfect machine,

an adult toy that has not existed before. Each joke is a small act of revolution. It is in an invitation to a new way of seeing, a designer drug of the intellect that lures you for a time into an alternative world. And you have not only the licence but the weaponry to lead us on this pilgrimage. You can dress us in lace stockings. You can lengthen our noses, and give us claws and tails. You can defame our genitals and our hindquarters in ways that even Alan Ramsay would never dare. You are our comrades in privilege, as well as anarchic Pucks and Prosperos whose daily lemon-drop vengeances help sweeten our democracy and bring small shafts of joy to those groaning under the yoke of this age. Yearning, as humans do, for a better world. It has cost me a good deal to say these things to you tonight. Because, as you know, I hate every one of you and I’m currently fashioning laws, midnight after midnight in my attic, to ensure your extermination by Christmas. Till then I say, be merry, enjoy this brief, glad banquet in the gathering dark, and, as Frank N. Furter so might say, welcome to my electorate. P

hoto

- J

ohn

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dark, and, as Frank N. Furter so might say, welcome to my

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dark, and, as Frank N. Furter so might say, welcome to my

NSW Attorney General, Minister for the Environment, Minister for the Artsand Member for Blue Mountains, BOB DEBUS (below), welcomed members

and guests to the Blue Mountains for the 2005 Stanleys. At a cocktail party at the Norman Lindsay Gallery in Springwood,

Mr. Debus began his remarks with some refl ections on his meetings with cartoonist, George Finey, who was a contemporary of Norman Lindsay and lived near

Bob’s electorate offi ce in Lawson in the 1980s. Bob recalled how Finey would regularly drop in to the State Member’s offi ce and appear to take some

mischievous delight in disrupting the schedule of the day. Following those refl ections, Bob then turned to the formal task of welcoming

conference participants to the Blue Mountains, much to their delight.

22


Chicago... My kind of town!


Chicago has been chosen as the venue forthe 60th Annual Reuben Awards Convention.

NCS president, Rick Stromoski, letspotential delegates and visitors know whatthey can expect from a whirlwind weekend

in the USA’s famed “Windy City”

Almost immediately upon taking the reins of the chariot NCS from my predecessor “Caligula” McGarry, a week hasn’t

gone by when I’ve gotten a call or a note asking where the next Reubens will be.

I had two cities in mind, neither of which the NCS has ever visited, and went to work, as you do with the Stanleys down there, to nail down which would work best.

After a couple of out-of-town trips visiting up to four hotels a day, meeting dozens of staff, inspecting endless sleeping quarters, and a lot of haggling over food, beverage and room pricing, I fi nally came upon the perfect venue for the 2006 Reuben Awards Weekend. Circle the dates in your calendars for May 25-29, 2006 because the NCS is on it’s way to America’s second city, Chicago, Illinois.

We’ll be staying at the four star, four diamond rated Renaissance Hotel. A “classically cosmopolitan” hotel, the Renaissance has a unique location that affords you spectacular river, city and lake views. The hotel is situated on the corner of State Street and Wacker Drive, between the Loop and the Magnifi cent Mile. This convenient address places you in the heart of downtown.

Within walking distance of this award-winning hotel are the theatre and central business district, The Art Institute of Chicago, Marshall Field’s - one of the country’s largest department stores - and the dining and shopping establishments along Chicago’s famous Magnifi cent Mile.

Eighty percent of the rooms have a river view and the property was recently upgraded. There is only a short walk to shopping, restaurants and all venues of entertainment (just in case listening to McGarry’s primal warblings on karaoke night isn’t your cup of tea).

The guest rooms are equipped with an extended range of amenities, like high-speed internet access, and a refrigerator in the room. This hotel also features an indoor swimming pool, whirlpool and a sauna. I’ve negotiated a room rate of US$134 for this full service hotel and I’m sure you’ll be quite impressed. The meeting spaces are beautiful, the sleeping rooms are luxurious, and the level of service from the staff was impeccable.

Located approximately 18 miles from Chicago’s O’Hare International Airport and 12 miles from Midway Airport, the Renaissance is easily accessed by taxi, bus or subway. To learn more about the Renaissance Chicago, visit their website at : http://marriott.com/property/propertypage/CHISR.

Any ACAers interested in joining your northern hemisphere colleagues should contact local NCS members James Kemsley or Peter Broelman for further details.

Hi all! At the time of scribing this (whilst too late for the Merry Christmas bit) it’s never too late to wish you all a

great and successful 2006. We all need that, don’t we - to fi nish off where we’ve been and put some thought into where we’d like to be!

My eldest daughter and her partner came over from Sydney to join us for Christmas, and although temperatures are in the forties in Oz, they’ve really enjoyed a cold and noisy time back in the ol’ country.

I was very impressed, as always, with the line up of nominees for the Stanleys - I’ve promised myself to work in a trip for November time to coincide with the awards. You do yourselves proud and it would be good to show us how it’s done!

Random thoughts here... when you refl ect (as you do, to when Moses were a lad) on childhood days - when quite offbeat

images would emerge from time to time from the complex patterns on a bedroom curtain or the leaf shapes and a r r a n g e m e n t s of a tree - I fi nd this still happens when forming the basis of a character design

or enhancing an idea. Check it out. That’s what I like so much about the cartoon art business we’re in, things pop into the mind at the oddest times and light the thought bubbles. So be prepared to dash down those quirks on good ol’ fashioned paper - I’m guilty of assuming, quite wrongly, that I’ll remember them in the back of my subconscious mind - so access to pencil and paper is a must. I would have thought I’d have learned that by now!

If any of you need inspiration to plumb the depths of caricature origination, then take a look at the NCN (National Caricaturist Network) website: www.caricature.org. I joined them at their convention in Las Vegas last February, experiencing the fi nest examples of extreme and whacky caricaturing like nowhere else in 2D and 3D forms. The trouble is, as caricatures aren’t widely published - things end up operating in a “closed shop” situation. The annual conventions provide the opportunities for everyone wishing to join them in appreciating the whole art form.

There’s an excellent Churchill exhibition in London at the moment in the Westminster War Rooms and you would think that Churchill as a caricature subject would be easy peasy, but he’s more diffi cult than you realize - it makes you refl ect on the expertise of the late, great David Low who consistently depicted him spot on, time after time.

It only remains for me to wish you all you would wish for yourselves and that we collectively strive to make the good art of cartooning even better, effective and enjoyable.

Till later, cheers now, Terry

Terr

y C

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tien

DASHING IT DOWN!

Terry Christien, Chairman of the CCGB,found time for a little new year’s refl ection

in his regular note from the UK

23


As I landed at the Incheon Airport (South Korea), a cool

sea breeze kissed my ears and hissed a welcome. After clearing customs, I emerged to be greeted by my interpreter, who was standing with a placard bearing my name in bold and a car beside him. I was there as the organizers of the Conference had invited me to participate and deliver a speech. This was my fi rst visit to Seoul. The vehicle zoomed the broad and well laid highway. I saw the hilltops on both ways studded with pine trees. It was an hour’s drive to the luxury hotel in Bucheon city.

Next morning, it was heartening to be surrounded by birds of same feather, who had fl own in from such far-off countries as Brazil and perched in the hotel lobby.

Amongst them were damsel-like-faced Claudio Curcio (Italy), Zanjanetov Zorn (Yogoslavia), the ACA’s Sean Leahy, (who was mistaken as brother of Sean Connery), Gathara Patrick (Kenya), Baghal Asghari (Iran), Reggie Lee (Malaysia), Kenji Nagai (Japan), Gerald Gorridge (France), Bira (Brazil) and scores of others.

After a spectacular cultural show, the forum began. Most of the speakers showed concern at the challenge posed by electronic media. Pang Beon (China) said that modern communication has changed the ways people obtain knowledge. In modern times the consumption of multi-dimensional culture imparts a fl ood of messages to people in easy and entertaining ways. He spoke further, saying that cartoonists should focus on their lively imagination and creativity, employing the skills of professionalism to walk with this new era. The veteran artist argued for the need to develop comics for adults, whilst maintaining teenage material. He lamented that comics are considered children’s literature in modern society.

The distinguished representative from Japan spoke eloquently. As expected, he focused on the shifting of drawing to digital methods, which he said began with the Macintosh computer in 1984. Computer drawings have number of advantages, especially by being easily applied to other formats such as games and the internet. Digital drawings can be created without brushes, paper or ink, reducing labour and other costs and can also be stored and used as a basis for creating new ones. I agree with the Jap fellow for his digital brain work, but what about copyright, which exists only in original works? That is one question to ponder.

When my turn came, I tried to dispel fears of invasion by the electronic media and mobile phones, and placed emphasis on co-operation between TV and printed comics. True, gone are the days ( in eighties and nineties) when comics ruled supreme. We cannot stop the progress of science and technology. These are for the benefi t of mankind. But if the electronic media and printed comics co-operate, both can boost the readership and viewership of each other.

I gave an example of my own comics Chacha Chaudhary (below), when premier channel Sahara ONE contacted me four years ago, expressing the desire to adapt my work for the production of a TV serial. Not only did it make my pockets heavy, the TV version also increased the sales of printed comics and increased the circulation of printed books.

Koreans are hosts par excellence. They looked after each guest perfectly and fervently. Their food was delicious, though a bit spicy.

There was one thing which I felt missing. Old stalwarts- comic heroes like Tin Tin, Superman, Asterix, Blondie etc. were conspicuously absent at the exhibition of comics. Those illustrious characters and their creators are the tall pillars of modern comics, and their inclusion would have made the conference a truly global one.

KOREA 2005Comic strips have always been a staple of Asian life. In September, the 7th World Comic Artist Conferencewas held in Bucheon, South Korea.It was well attended by delegates from around the world, including two ACAers, Queensland vice-president Sean Leahy

and the association’s only member in India, Pran Kumar (above left). Pran, the sub-continent’s answer to Belgium’s legendary Herge, fi led this report for Inkspot. Pran’s comic book art can be viewed on his website at www.pran.in.

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Thank you to everyone who contributed to YVO.

Unfortunately we were unable to use everything but trust you will

enjoy those that found space. The subject for the next issue will be

“School Days”.please email to

[email protected]

Rolf Heimann, VIC

Your View On...Your View On...

Christophe Granet, NSW

Stephen Gunnell, NSW

27


Phil Somerville, NSW

Mark Gutherie, NSW

Peter McAdam, NSW

Anthony Slater, WA

James Kemsley, NSW

28


The Mostly True Story of Matthew and Trimby Cassandra Golds and Stephen AxelsenA4 Colour 48pp.Puffi n Books, Melbourne ISBN 0143302175 Reviewed by Ian C. Thomas

This new children’s graphic novel is a very welcome step in local

publishing! Author Cassandra Golds retells the historic story of great seafaring explorer and cartographer Matthew Flinders and his travelling companion, Trim the cat. Stephen Axelsen illustrates in a comic format, using subdued colours in a relaxed line-and-wash style with lots of expression and enough detail to really bring the story to life. To begin with Golds adheres to history, and the early episodes are tight and accurate, containing a lot of information, but interestingly told. Later in the story her imagination has full fl ight – oddly enough during the period of Flinders’ imprisonment in French Mauritius – and the story really takes off. The episodic nature of the telling (originally this story appeared as a serial in the NSW Department of Education and Training’s School Magazine) detracts a little, particularly in the early stages, but this diminishes as the chapters become longer and more easily connected. Overall, there is a poignant, elegaic feel to the story, with many unfortunate or tragic turns. I particularly liked the care shown in telling us what happens with Anne, Flinder’s wife, his friendship with Bass, and Trim’s encounter with a dodo. There is much in the story that is downbeat, but the charm of both the telling and the illustrations make it consistently a journey worth taking. The retrospective telling of the story by the ghost/statues of Matthew and Trim is a sometimes awkward device necessitated by the nature of the story, but does help connect the history to a current time and place, which is helpful for young readers. Axelsen’s style is immediate and appealing, communicating a great deal of pathos, and his decision to letter in fountain-pen (using upper and lower case) both befi ts the context and makes the book even more friendly for young readers.

Penguin Books (Puffi n) are to be commended for taking the plunge into a comic-style format and producing a beautiful book suitable to sit alongside Asterix and Tintin in school library and personal collections alike. ICT

Jules Faber’s ‘Golgotha’ Book OneA5 Colour 24p.September 2005

In the forgotten outer reaches of space fl oats the deserted prison station of Golgotha, orbiting the dead star of Mortuus and the forgotten planet of Calvary.

Jules Faber has set up an intriguing premise with a real sense of place. Golgotha – a world populated with cleverly designed characters in a desperate situation - is brought alive by evocative writing and vibrant, full-colour artwork. There’s an organic feel

to the artwork, painted by hand in a vigorous, immediate manner and lettered in a personal font that suits the style perfectly. Despite the dark tone overall, this world of abandoned prisoners is not without hope. The layouts of the panels, with their roughly painted borders and overlaid panelling, effectively capture the slow passing of time. Similarly evocative is the use of Biblical place names (Golgotha, Calvary, even a Garden of Gethsemane), and here lies some possible clue to what may lie ahead for these diversely bizarre characters: sacrifi ce, redemption, death. Something is roaming the deserted spaces of Tier 44... If the expanse and imagination shown in every aspect of this unusual comic is anything to judge by, the back-stories of these twelve small monsters, and how they will deal with the future, will make for compelling reading. Producing a full-colour book is suffi ciently unusual in itself, but the painted look, intriguing concept and clever character designs are commendable indeed. With a projected overall epic series of 72 issues (consisting of smaller sets of 12), there is enormous potential scope for this tale. An air of haunted expectation underpins this introductory fi rst issue - I look forward to seeing where this series will go... ICT

Knight, The Mark Knight CollectionA Lifetime of Cartoons & Drawingsby Mark KnightColour and B&W 207ppGSP Books, 140 Harbour Esplanade, Docklands 3008www.geoffslattery.com.au ISBN 0 9757287 7 6 Reviewed by Bill Leak

On an unusually cold day in November this year, I found

myself sitting alongside Mark Knight. Having just brought out my own book of cartoons, Mark was selling copies of his book, Knight, the Mark Knight Collection at a rate that I could only dream of. And deservedly so. Mark’s collection of cartoons and drawings is about as complete an analysis of a cartoonist’s work that you could think of. It works on every level. It’s informative, instructional, and deeply personal at the same time. If I have one critical comment to make, I’d say, ‘Mark – don’t use so many exclamation marks when referring to your own cartoons!!!!!!!!!!’

Mark takes you through his developmental stages, which most of us would be proud to achieve in our advanced stages, and heads right on from there.

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Ian C. Thomas is a regular reviewer for Inkspot. He currently draws serials for The Ink and manga comic Xuan Xuan.

Bill Leak is the editorial cartoonist for The Australian and the author of Heart Cancer. Leak’s latest collection of cartoons, Moments of Truth, is published by Scribe and was reviewed

in Inkspot #46 - Spring 2005.

Tim Harries is a member of the CCGB and a regular reviewer for The Jester. He is the daily cartoonist for the South Wales Argus andother clients include Reader’s Digest, UK and USA, BBC, Mensa.

He is based in Newport, South Wales.

His ability to capture likenesses with a few deft strokes of the pen puts Mark up there with the Lows, the Fineys and the Moirs. And you don’t get much better than that. Add to that his ability to summarise a complex political situation in an image and you have an artist of truly rare quality. On top of that, he’s also funny! The thing that’s so irresistible and endearing about this book is that Mark is such a self-effacing bastard. There is not a hint of arrogance about a book that could have, in the hands of others, been a tribute to one’s own self-esteem. Have a look at pages 178/179 ( as one example of many) of his book and see that this is a man in complete control of his powers. He’s absorbed and redefined a lot of influences over time, including Patrick Cook, Ralph Steadman, and many others. As is the norm with the great cartoonists, you’d never notice it now. It’s one of those silly criticisms we level at those so much better than ourselves when we say, ‘he/she was influenced by....’ For goodness’ sake, let’s put down Picasso because his early work ‘was influenced’ by Raphael and his later work ‘was influenced’ by Velasquez. Mark Knight’s work stands alone. He is a perpetrator and the embodiment of a robust tradition we, as cartoonists, should all be proud of. If only all of us could aspire to such heights as his. This book says it all. My advice is, get a copy of Mark’s book. We all have much to learn. BL

The Complete Calvin and Hobbes: Volumes 1, 2 & 3by Bill WattersonColour and B&W 1450ppAndrews McNeels Publishing, Kansas City, USA

Reviewed by Tim Harries

Postmen of the world rejoice – another fantastically heavy cartoon collection has arrived to aggravate your back problems! Weighing in at a hernia inducing $265, The

Compete Calvin and Hobbes does exactly what it says on the tin… er… cover; gathering together every one of the 3,160 strips Bill Watterson produced in a rather spiffy three volume slipcased set.

Hard to believe that we haven’t had any new material from Bill Watterson since December 31st 1995, but here we are 10 years later and his creations are still as popular as ever, captivating readers and influencing fellow cartoonists the world over. So what is it about Calvin and Hobbes that merits such a lavish retrospective and more to the point, is it worth fifty quid? In a word, yes. In two words, yes indeed. For anyone who doesn’t know about the strip (hang your head in shame!), it follows a 6 year old named Calvin and his imaginary stuffed tiger Hobbes – on the surface a very simple premise, but transformed by Watterson’s lively art (it actually feels like he had fun drawing the strips) and his terrific writing. He balances the need to be funny and actually have something to say very well and it’s sometimes the strips that forgo the punchline or gag-a-day that stay with you the longest. A series of strips where Calvin finds an injured animal and copes with loss and another one recounting the aftermath of a burglary revealed a depth and subtlety to the writing usually missing from the comics page. Wait… wait…

It wasn’t all death and anti-social behaviour, mind you! Watterson has also crafted just about one of the consistently funniest strips around. Calvin’s transmogrifier/time machine/duplicator (a multi-tasking cardboard box), the G.R.O.S.S (Get Rid Of Slimy girls) club, and his never-ending battle with the babysitter have all produced genuine laugh out loud moments.

Where did these ideas come from? Watterson admits the two characters are “pretty much a transcript of my mental diary. Their emotional centres are very true to the way I think. Hobbes has got all of my better qualities and Calvin got my ranting escapists side”. Watterson’s psychiatrist may have a few things to say about that, but I’m just happy that we got a classic strip out of it. I’ve already mentioned the quality of the artwork and its really shines in the Sundays; freed from the restrictions of the daily strips and overcoming the previously rigid format of Sunday strips, Watterson lets his imagination loose with wonderful results.

He reveals “Having become enthralled with George Herriman’s Krazy Kat full page Sunday strips from the 20s and 30s, I proposed changing my Sunday strip format so that I could design my panels with a similar freedom.” After initial outcries from newspaper editors who assumed Watterson’s ego was out of control, he eventually got his way. “I doubled my efforts to make the Sunday strips special” he said, “The last few years of the strip, especially the Sundays, are the work I’m most proud of.”

All good things come to and end however, and after ten years at the top of his game, Watterson called it a day. He’d said all he wanted to say and perhaps it’s for the best - if his heart wasn’t in it, who knows how the strip may have suffered. As it stands, The Complete Calvin and Hobbes is a fine collection and worth a place on anyone’s bookcase. Currently available for around US$105 (AUS$145) from Amazon, but if your wallet doesn’t stretch to that amount, it’s worth considering The Calvin and Hobbes 10th Anniversary book or the Calvin and Hobbes Sunday Pages 1985-1995. Both have interesting notes to accompany most of the artwork, with the Sunday Pages including many reproductions of the original art, complete with whiteout and pencil marks. Go get ’em Tiger! TH

Reprinted from the December issue of the CCGB Jester.

Tim

Har

ries

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Dear Inkspotters, the fi nal letter for 2005 from the Bunker is a short one for this edition as it is written from the underground gallery minutes before I leave for holidays

in Melbourne. So much has unfolded since the last newsletter. Lewd. Nude and Rude was a huge success with many dreadful and dreadfully good cartoons devised or sent especially for the exhibition. Opening night attracted over 80 people and was an unqualifi ed success with various Coffs Harbour dignitaries throwing caution and respectability to the winds, to perform, frequently in drag, many raunchy show-time numbers befi tting such a cheeky exhibition.

The season for Lewd, Nude and Rude was a short one as the Bunker prides itself on providing family entertainment. Bunker prides itself on providing family entertainment. BunkerLewd received, to my surprise, one letter of complaint, sent Lewd received, to my surprise, one letter of complaint, sent Lewdby a Queensland visitor who was advised about its content by the custodian, walked past the large red sign that warned that the exhibition contained explicit images, then promptly paid $2 for the privilege of being offended. It’s not only the cartoons that make me laugh in this job!

Current exhibitions include Horrible Holidays with a discrete exhibition of work by Mark Lynch (left) who is a fi rm favourite with staff and visitors. Visual art is also represented over the Christmas and New Year with work that references carnivals and roadside attractions by Glenn Innes artist Jeff Manning, so there is plenty to see should you have the good fortune to visit lovely Coffs Harbour over the summer break.

More edifying but nevertheless entertaining exhibitions are scheduled in the new year with the travelling exhibition

from Old Parliament House titled A Brush with Politics: the life and work of John Frith. This exhibition is a tribute to one of the nation’s most impressive political cartoonists and well worth seeing. As ever, work from the Bunker’s magnifi cent archive will also be on display. Finally before this year ends, I cannot close the column without acknowledging the cartoonists who have taken the mickey out of sedition laws. It has been wonderful to hear so many cartoonists undermine this draconian legislation and to see this silliness played out in brilliant cartoons that have caused considerable comment. Fantastic!

I hope all readers, their friends and families have had a lovely holiday break, I’m so looking forward to next year’s exhibitions and events and to meeting more cartoonists, established and emerging. If you are in Coffs for any reason, please give me a call. I would love to catch up with you to talk about exhibitions, the state of the nation, and other silly and signifi cant things,

Warm wishes for the new year,

Leigh Summers(02) 6651 [email protected]

News from the Bunker

BUNKER CARTOON GALLERY COFFS HARBOUR

Is It Time to Consider Upgrading?

Upgrading your Viscopy membership that is. Well, this topic came up at the wondrous and highly enjoyable Stanleys in the Mountains in November,

as I spoke with cartoonists having various concerns about licensing and infringements. ACA members are all Statutory members of Viscopy -- we collect statutory royalties for you as a result. However, Viscopy’s ability to assist Statutory members is limited beyond that. We can give you basic advice about licensing, infringements and so forth, but our by-laws restrict us from being able to be directly involved in such negotiations; these services are what we offer to our Primary members. Furthermore, we are not in actuality a legal service such as, for instance, ArtsLaw.

This does not at all mean that if an ACA member called with a copyright question that we’d refuse to talk to you, far from it! We’re more than happy to help all of our members to whatever extent we can. And we’d like to be able to help more, if possible. Of course, many cartoonists already have syndication agreements which may preclude them from becoming full Primary members of Viscopy. However, outside of these agreements there are occasions when cartoonists deal independently with businesses or individuals who want to negotiate an arrangement for creative work that has nothing negotiate an arrangement for creative work that has nothing to do with the cartoonist’s syndicated material creating a caricature or logo, for instance.

It is often the case that visual artists don’t know how much to charge or what is fair game for a potential business partner to ask of them, according to copyright law. At Viscopy, we take numerous queries of this nature from artists every week, cartoonists included. Should you fi nd yourself in this situation, one possible solution is to upgrade your Viscopy membership to ‘Primary with exemptions’, the exemptions being for syndicated or any other work where you already have agreements in place. You can upgrade for free, and this gives you access to the full range of Viscopy services administering and negotiating agreements, infringement services, breach of contract services, and more without interfering with any pre-existing agreements you may have. As each cartoonist would presumably be in a unique situation, we would address each on a case-by-case basis.

So...is it time to consider upgrading? If someone wants to licence your work, or if someone has infringed your work, give us a call on 02 9368 0933. We may be able to make the process a whole lot easier.

Until next time,Chad CorleyMembership & Distribution ManagerVISCOPY

PS- We’ve moved! Our new contact details are:45-47 Crown StreetWoolloomooloo NSW Australia 2011

Telephone +61 2 9368 0933Fax +61 2 9368 0899www.viscopy.com


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After a seemingly endless drought the editorial cartoon collection appears to have returned with a vengeance. In recent months The Australian’s Bill Leak has published Moments of Truth (see Inkspot #46), The Herald-Sun’s Mark Knight has given us a truly magnifi cent volume with a lifetime of work (this issue page 28) and joining the renaissance of what, for many years, was an Aussie tradition, The West Australian’s Dean Alston and The Courier-Mail’s Sean Leahy have also released collections

of their work... 20 Years of Alston features a hand-picked selection of his best cartoons from the time he started at the West Australian in 1986, through to 2005. “It was going to be 15 Years of Alston‚ but it took me fi ve years to fi nish the bloody thing!” says the man himself. Despite numerous offers to work elsewhere, Alston has stayed in his home state and tickled the Western

Australian funny bones daily with his sharp-witted take on local, national and international issues. He has been dubbed as “one of our most humourous artists” by the PM John Howard, who also says “Dean Alston’s creative talents lend their inspiration and imagination to all of us”. 20 Years of Alston is available as paperback ($29.95) and hardback ($49.95) in WA through newsagents and bookstores. Nationally/internationally they will be available on The West Australian website. There are 200 limited edition signed hardback copies available only from WA Newspapers Limited for $89.95 each (plus postage - $4.50 WA, $7.00 interstate). For orders call (08) 9482 9737. It was great to see the newspaper get behind Alston by featuring him on their cover story in The West Magazine...Meanwhile Queenslanders have been treated not only to a fi ne collection of Leahy’s editorial work in Power Point Pete: Queensland from Joh to Woe, but also a long-overdue

publication of selected strips from his Australia-wide syndicated, Stanley Award-winning comic Beyond the Black Stump. Both books are available ($19.95) at all Queensland Nextra Newsagents (phone 1800 Nextra), Mary Ryan Bookstores, and Dymocks. If you’re in the Southbank vicinity, Illustration House has the both books and original Leahy artwork for sale as well...The drought could be turning into a fl ood with Scribe Publications (www.scribepub.com.au) releasing two cartoon collections. Best Australian Political Cartoons 2005, edited by Russell

Radcliffe and featuring 180 editorial cartoons, is a great record of the news events that have shaped the year through the eyes of Australia’s editorial cartoonists. It’s All Happening focuses on the drama and passion of Australian sport. 150

cartoons are reproduced in full colour where “Australia’s funniest cartoonists turn their attention to the achievements, the disasters, the personalities, and the scandals - the endless parade of genius and folly that is Australia’s national obsession.” Both books are an impressive collations, nicely printed, retail at $27.95 and are available in bookstores now... Negotiations went on and on, but after nearly eighteen months James Kemsley and Ginger Meggs have followed colleague Gerard Piper and Trevor from United Media’s Comic.com to Universal Press Syndicate’s Ucomics (see screen capture below). Already a longtime client of Atlantic Syndication and GoComics - both of which are owned by UPS - the Meggs cartoonist said it was a case of “keeping it in the family”. “I’m very happy with what Atlantic has done internationally with Ginger so it made sense to strike a deal to have everything under the one American umbrella,” explained Kemsley. Check out the comic strip at: www.ucomics.com/gingermeggs.

of their work... of Alstonpicked selection of his best cartoons from the time he started at the in 1986, through to 2005. “It was going to be Alstonyears to fi nish the bloody thing!” says the man himself. Despite numerous offers to work elsewhere, Alston has stayed in his home state and tickled the Western

Australian funny bones daily with his sharp-

It’s been over 40 years since The Beatles shookmodern culture down to its Cuban-heeled boots,

over 35 years since their fi nal concert and recentlythe 25th anniversary of John Lennon’s murder was

marked by sombre remembrances around the world. Still the Liverpudlian foursome continues to be a

marketing juggernaut. At the height of their popularityThe Beatles spawned an animated TV series,

many episodes of which were produced at ArtransaStudios in Sydney where a young Richard Jones

cut his animation teeth. Now, US toy manufacturerMacFarlane has released a boxed set of mini-fi gurines

modelled on the cartoon series.Needless to say, Jones was one of the fi rst to be sent a set.

vicinity, has the both books and original Leahy artwork for sale as well...drought could be turning into a fl oodPublications scribepub.com.autwo cartoon collections. Australian Political Cartoons 2005

publication of selected strips from his Australia-wide syndicated, AwardBeyond the Black Stump.Both books are available ($19.95) at all QueenslandNextra Newsagents 1800 Nextra), Bookstores,If you’re in the Southbank vicinity, vicinity,

under the one American umbrella,” explained Kemsley.

inkspot 47

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