Recently there has been some agitation regarding
a satirical drawing depicting Barack & Michelle Obama from the
Some have argued that the drawing is of questionable merit; and have
insisted, that it is at the best, in bad taste, and at the worst, racist.
While others retort, that the illustration isn't really either in fact. These learned (wink) people reason, that the drawing challenges the actual racist stereotypes themselves, and makes fun not of the candidate at all - but rather, pokes fun, and points fingers at his critics, and their absurd, and rather antique calumnies.
I must admit in the spirit of clarity, that I agree with the latter,
and think that the cover is rather brilliant, despite its um... impact.
Since its publication a couple of weeks ago, the wits at Vanity
Fair magazine have responded to the conflict in their own notable way, by coming up with a cover of their own. A somewhat familial, and sympathetic riposte, as it were.
Fair magazine have responded to the conflict in their own notable way, by coming up with a cover of their own. A somewhat familial, and sympathetic riposte, as it were.
This cover depicts in its case, candidate McCain and wife, in an equally
absurd context, and is a play on the Obama cover imagery, American social history, political correctness, and on the nature and importance of satire.
absurd context, and is a play on the Obama cover imagery, American social history, political correctness, and on the nature and importance of satire.
Do compare and enjoy the ( short ) articles which are linked to
each magazine's particular name, and consider for yourselves, the effect
and nature of this tempest in a teapot.
each magazine's particular name, and consider for yourselves, the effect
and nature of this tempest in a teapot.
Lastly, there is a "political" etching from the late 1800's, by James Gillray, (which admittedly - is perhaps a trifle, historically remote). Gillray was, much in the manner of the great Jonathon Swift, a true English satirical genius.
Gillray was a prolific artist and a merciless social critic. His work and
attitude continued a long and notably vigorous British tradition of political dissent, through satire - which mercilessly lampoons the rich, enraged the Royals and caustically challenged societies excesses and moral failings in general, and perhaps most importantly, all en flagrante, in public.
Gillray was a prolific artist and a merciless social critic. His work and
attitude continued a long and notably vigorous British tradition of political dissent, through satire - which mercilessly lampoons the rich, enraged the Royals and caustically challenged societies excesses and moral failings in general, and perhaps most importantly, all en flagrante, in public.
"Fashionable Contrasts; – or – the Duchess's little shoe yielding to the magnitude
of the Duke's foot, originally published by Hannah Humphrey on January 24, 1792.
The print shows the feet and ankles of the Duke and Duchess of York (Frederick,
Duke of York and Albany 1763-1827, son of George III, and Frederica Charlotte
Ulrica 1767-1820, his wife), in an obviously copulatory position, with the Duke's
feet enlarged and the Duchess's feet drawn very small"
and I think we are far, far, better off, for them having done it.
