R.I.P., George Gladney

My old mentor George Gladney.
Photo uwyo.edu

George Gladney has gone west.

You won’t know the name, unless you worked with him or read him at the Los Angeles Times, the Colorado Springs Sun, the Gazette Telegraph, The Denver Post, or the Jackson Hole News, or studied under him at the University of Wyoming in Laramie.

But George stands tall in my personal history. He was one of the people who showed me by word and deed that there was a place in the newspaper game even for those of us who were a bubble or two off plumb.

When I got hired as a copy boy at the Colorado Springs Sun I was at loose ends following a brief tour of the dead-end gigs available to a dropout from a third-rate college. George was the police reporter, as I recall, and came to the Sun from the L.A. paper.

Back in 1974 the newsroom was stiff with talent, the best possible haven for a wannabe cartoonist shambling out of his teens into nowhere special if he didn’t pull his hairy head out of his hippie arse.

Bill Woestendiek and his wife, Kay, ran the outfit, sister paper to the Las Vegas Sun in Sin City. Carl Miller, who would move on to helm The Denver Post, was city editor. Bill Buzenberg, who would rise to veep of news at National Public Radio, was his assistant and an investigative reporter.

Bill McBean, another reporter, would abandon his typewriter for a paper route, claiming afterward that he made more money from delivering the Sun than he ever did writing for it. That didn’t last; he eventually got back on the scribbler’s horse in Denver, at the Post.

I was an actual scribbler; a cartoonist, or so I thought. But an adviser at Adams State College had told me just how few full-time, paid editorial cartoonists there were in the country and suggested that I cast a wider loop, maybe consider taking a reporter’s job as my entrée, a foot in the door.

Well, there I was, with both feet in and my dumb ass for company. Not a reporter; just a copy boy. And I didn’t even have the chops for that. When Carl handed me a stack of press releases to rewrite I told him I didn’t know how to type.

“Better learn,” he replied. And I did, whenever I wasn’t stripping and sorting copy from the wire-service teletypes, running copy and art to and from composing and engraving, and doing other scutwork so real journalists didn’t have to.

I learned something from all these people, starting with typing, thanks to Carl, who also passed on some firm hints about how to write for newspapers. Bill Buzenberg let me tag along and watch him interview hookers for a piece on the massage parlors infesting Bibleburg. The Woestendieks let me sit in on the copy desk on slow nights, learning how to fit copy, size art, and write heds.

George and Bill McBean took me out for drinks, told me war stories, had me over to their houses for dinner, introduced me to their wives; I soaked up their experience like a bar rag and felt as though I had become part of a family.

When I left the Sun to go back to school, this time at the University of Northern Colorado, George told me he hoped I’d come back as a reporter. And I did. But not to the Sun — to the Gazette, the bigger of the two papers in town. Because George was there, this time on the city desk.

He helped me sneak in the back door as a contractor — a little glimpse of the future there, yeah? I compiled the annual industrial edition, drew a few cartoons, and even wrote a couple of stories before getting hired in early 1978 as a for-reals general-assignment reporter at $155 a week.

And that’s where the rubber met the road. As George’s obit notes, he was “a meticulous editor and dedicated teacher.” He was not above crumpling up your copy and tossing it back to you. (We were still working on typewriters in 1978, and other people in the newsroom could actually see it when an editor threw your copy back at you.)

After a few rounds of journalism badminton George would call me over and explain in detail, citing irrefutable examples, precisely why I was a toothless cog in the Gazette‘s well-oiled machinery. Sometimes he and his opposite number Joe Barber would tag-team me. This could be like getting tossed around the ring by Mad Dog and Butcher Vachon.

It was the school of hard knocks, for sure. But man, if you don’t get kayoed, you learn how to roll with the punches and throw a few of your own. As Carl had told me once at the Sun, “We can teach you more about newspapering in a year than you’ll learn in four at college.”

But Carl also insisted I go back to college. Once again, good advice at the precise moment it was needed. Because without that journalism degree I would not have been able to stay and learn at the Sun, or follow George to the Gazette, where I learned even more, in the company of comrades from other schools, other papers.

Sadly, I suspect Carl’s advice is no longer relevant. Back in the early Seventies, at the minor-metro papers that hired me, editors like Carl and George could spend some time breaking in the noobs. An assistant city editor would call you over to demand an act of contrition for some sin of commission or omission. A copy editor might have some thoughts about condensation and clarification. A typesetter could catch an error that had eluded everyone else and that observation would find its way back to you like a bad check.

If the error slipped past the typesetter, the page proofer, and the press check, and actually made it into print, the managing editor might want a word. This would be truly educational. Envision a very angry principal, swinging a larger “board of education.”

Even George made a few mistakes, and like good students we did too. (Actually, we did not require coaching in making these kinds of mistakes, but we were finally getting paid, and could afford to make bigger and better ones.)

This was why the list of phone numbers taped to a drawer at the city desk listed as many taverns, titty bars, alehouses, grog shops, gin mills, cantinas, and buckets o’ blood as it did home numbers. In extreme cases some expenditure of shoe leather was required, but by then we were seasoned reporters, kinda, sorta, and dogged in the pursuit of The Story, or whoever was supposed to write or edit it.

After a few years we all moved on to other opportunities, because in the newspaper game this is how you get a raise or a better job, or at least a different one. If you’re inclined to keep making some of the old mistakes or maybe acquire a few new ones, it’s also how you get a fresh nest to shit in.

George suggested I start keeping a journal, and Lord, have I ever kept ’em.

George eventually left the newsroom entirely and settled down in academia, where he could continue gently and relentlessly squeezing the dumbass out of young eejits afflicted with delusions of grandeur.

One of his students recalls: “I learned so much from that man that I still find myself quoting him and referring to him as someone who influenced my life in important and meaningful ways.”

Me too. And you as well. You probably never read George Gladney, or worked with him, or studied under him. But if you’re reading this, you are under his influence.

Because it was George who told me back in 1974 that I should start keeping a journal. And that’s just another word for “blog.”

No joke, sport

We did, too. Before they could fire us.

Whew. Rough week in my old bidness.

The New York Times croaked its sports department, and McClatchy sacked three Pulitzer Prize-winning editorial cartoonists — Jack Ohman of the Sacramento Bee, Joel Pett of the Lexington Herald-Leader and Kevin Siers of the Charlotte Observer.

Having worked in one sports department and drawn more than a few editorial cartoons, I naturally view with alarm. Wit is without value but witlessness is rewarded?

When The Washington Post asked for comment on McClatchy’s abrupt erasure of three Pulitzer winners, the company — owned by Chatham Asset Management — supplied this gem from opinion editor Peter St. Onge:

“We made this decision based on changing reader habits and our relentless focus on providing the communities we serve with local news and information they can’t get elsewhere,” the statement said.

Ho, ho. That’s not the dumbest thing I’ve ever heard, but it’s definitely on today’s leaderboard.

What local news and information that can’t be gotten elsewhere might McClatchy be relentlessly focused on providing in Sacramento at 3:10 p.m. Thursday Duck! City time?

And who says there’s no such thing as good news!

“The stories you’re seeing on the homepage are chosen by our local editors with help from an AI algorithm. The display includes the day’s important stories and recommendations for readers like you.”

Anyway, here’s a random selection from AI’s random selections courtesy of your friendly neighborhood carbon-based life form:

• “Cirque du Soleil returns to Sacramento this summer: Here’s where, when and how to get tickets.” Sounds like a free ad to me, but maybe the AI got comped tickets.

• “More than 40% of Californians say they were affected by recent extreme weather, poll finds.” Do tell. I imagine the other 60 percent stayed home or attended an air-conditioned showing of Cirque du Soleil.

• “Prime Day is over, but there are still deals galore.” Any cut-rate Cirque du Soleil tickets?

Well, thank Boss Tweed there ain’t none a them damned pictures taking up space on the Bee homepage. There’s not much to read, either. But then the only reading that interests hedge funders and asset managers is of the bottom line, and McClatchy certainly seems to have gotten to the bottom of something here.

• Addendum: Speaking of bottoms, pour one out for Anchor Brewing, which is going down after 127 years, the final few under a disastrous foreign ownership. Anchor Steam may have been the first proper beer I ever drank, and the porter was superb.

Scary monsters

Nothing says Halloween like a plug-in plastic punkin.

I used to love Halloween. It was my favorite holiday by far. Who doesn’t want to be someone or something else for at least one day per annum?

Look! Up in the sky! It’s a bird … it’s a plane … no, it’s The Kid with the Giant Head!

Mom made more than a few costumes for me: Superman, Mike “Sea Hunt” Nelson, even one of my own cartoon characters, Loadedman.

I can’t remember how the hell I talked her into that one. Surely I never let her read any of the comics. They did not promise a future of fame and fortune for Your Humble Narrator.

Eventually I started cobbling together my own getups, but found my options limited by my everyday appearance, which was long on hair. The pirate thing is easy, but gets boring after a few voyages.

So I stretched myself a bit. I was Chihuahua Guevara one year, and Jesus another. The Che getup was easy — basically pirate, but with assault rifle and beret instead of cutlass and bandana — but the Prince of Peace required a little more skull sweat.

An early Eighties Halloween in Oregon
Chihuahua Guevara, Fido Castro, take your pick.

It was a combo act. A newpaper colleague and I planned to crash a divinity-school party as the Deities from New Jersey, with accents to match.

Robes and halos were a snap, and I used green trash-bag ties to fashion a crown of thorns, but we couldn’t talk anyone into joining us as the Holy Ghost. Something about “blasphemy.”

Yeah, right. Like we weren’t already going to Hell for running an afternoon newspaper.

One aspect short of a Trinity, we were forced to improvise and adapt. In short, to evolve. We bought a white helium-filled balloon and slapped a happy-face sticker on it. Hallelujah. The Lord helps those who help themselves.

At another newspaper I managed to catch the publisher napping one All Hallows’ Eve. I throttled back my prodigious beard, then braided my hair and stuffed it down the collar of a very pro dress shirt. Took out the earring, added tie, slacks, and footwear, and went to work.

Well sir, I don’t mind telling you the publisher was impressed. Shook my hand and congratulated me on finally joining the human race.

Later I left for lunch and returned clad in motorcycle-outlaw finery — all hair and earring and black boots and denim, including a vest with homemade “Hell’s Editors” colors on the back and a “No Morals” button on the front.

The publisher subsequently went dotty. I like to think I contributed in my own small way.

These days I mostly play it straight. We hang around the house and wait for all the little goblins to pop round, screeching for sugar.

If anybody asks what I’m doing for Halloween I tell them I’m going as an old white guy. I can’t imagine anything scarier.

Sketchy way to earn a living

Back to the ol’ drawing board? Nope.

Back in the late Seventies, when I was more yappy pup than Mad Dog, one of the editors at my second newspaper asked me why I was dead set on becoming an editorial cartoonist.

“I think you’re a better writer than you are a cartoonist,” he said.

Well. Shit. Nobody else around the newsroom seemed to think I was a fledgling Woodward N. Bernstein. Especially me.

I didn’t love reporting, which precedes writing and can be a very heavy lift indeed. When bored witless at school-board meetings I often doodled in my reporter’s notebook. As a consequence coverage could be less than comprehensive. And now here was this authority figure telling me that words, not pictures, were my forte, my future. Bad news.

This wasn’t the first “Check Fiscal Engine” light on my career dashboard, either. An adviser at my first college had told me how many editorial cartoonists were earning a living in the United States (not many then; even fewer now). Might want to cast a wider net, the adviser advised. Instead I dropped out and fished blue-collar ponds for a while.

At my second college another adviser advised that I’d never find any kind of work at a newspaper, unless maybe it was with Ed Quillen, who even then had a reputation for blazing his own trail. As it turned out, this wizard’s palantír was off by seven newspapers, and I didn’t do a lick of work for Ed until I had quit No. 7 and gone rogue. Those who can’t do, etc.

But I digress. Back to Newspaper No 2.

Your Humble Narrator at Newspaper No. 3, circa 1980.

The writing was on the wall, as it were. Happily, I could read. And even write, a little, as long as it didn’t involve first walking up to strangers like some Monty Python constable: “’Ello, ’ello, ’ello … wot’s all this then?” I didn’t care for regular haircuts or wearing a tie, and I only liked meeting strangers over drinks in some dark bar.

But a few years earlier, at Newspaper No. 1, where I was a copy boy, I got to sit in at the copy desk now and then, and I really enjoyed the work. It was why I eventually quit and went to College No. 2, the managing editor having advised that I would pretty much top out as a copy boy without a degree of some sort.

So at Newspaper No. 2, after scanning the writing on the wall for typos, grammatical errors, and AP Style violations, I petitioned to relocate from reporting to the copy desk. And I spent the next decade moving from one copy desk to another, editing other people’s stories, writing headlines and cutlines, sizing photos, laying out pages, and occasionally slipping a cartoon past an editorial-page editor.

And rarely — very rarely — I wrote something under my own byline.

Almost exactly 10 years after I read that writing on the wall, I found myself inching toward the exit at Newspaper No. 7, where I had bounced from the copy desk to the sports desk to the arts magazine to the features desk. There were no chairs left unoccupied and the music was winding down. The idea of courting Newspaper No. 8 — and then Nos. 9, 10, 11, and so on, and so on, ad infinitum —felt like a long pull into a cold headwind.

And yes, I had taken up bicycle racing a couple of years earlier.

Your Humble Narrator post-newspapering, in his second act as a pro cartoonist.

So imagine my astonishment when I stumbled across an ad in Editor & Publisher, the industry’s trade mag. Something called VeloNews wanted a managing editor. I applied. Got an interview. Didn’t get the job.

But I did get hired as a cartoonist. Finally! Pro at last, pro at last, thank God Almighty, I’m pro at last!

Cartooning for VeloNews was my first gig outside newspapering, and cartooning for Bicycle Retailer and Industry News would be my last. The Alpha and Omega of my second act, as a freelancer.

In between I did a lot of other stuff, of course. Covered races and trade shows, wrote commentary, edited copy for print and online, dabbled in video and audio. But it was cartooning that brought me in, and cartooning that saw me out.

And you know what’s really funny? I retired six months ago and haven’t drawn a line since. But I just wrote 700-some-odd words, and for free, too, simply because I love doing it.

Maybe that editor was onto something after all.

Ashes to ashes, dust to … eraser dust?

Tom Toles has erased himself from The Washington Post.

Well, here’s a bummer: After 50 years, Pulitzer Prize winner Tom Toles has drawn what he says is his final cartoon.

Like Toles, I started out a half-century ago, as the cartoonist for my high-school newspaper. Then I scribbled for my college papers and a couple of undergrounds before getting sidetracked into reporting and editing for a series of dailies and one small group of Denver-area weeklies.

Oh, I still contributed the occasional cartoon to the newspapers whose misfortune it was to employ me in some other capacity. Wasn’t an editor alive who would turn down free anything Back in the Day®; probably still isn’t, especially if we’re talking whiskey. But the pay, such as it was, was for pounding out the column inches or chasing commas around the copy desk.

Even then the full-time editorial cartoonist was becoming an endangered species, and I was glad that I’d followed an early adviser’s recommendation that I have some sort of a backup plan just in case I didn’t become the next Pat Oliphant, or like Toles, replace Herblock.

It wasn’t until 1989 that I started cartooning regularly again — not for The Washington Post, but for VeloNews. Next came the “Shop Talk” strip for Bicycle Retailer and Industry News, in 1992.

I’ve drawn a metric shit-ton of cartoons since, but I don’t think I’ve come anywhere near 15,000 of the sonsabitches. After a job of work like that, Tom Toles deserves to get back to playing. He recently chatted with NPR about where he’s been and where he’s going.

Thanks to Kevin Drum at Mother Jones for the tip.