Issuu on Google+

FOGHORN The magazine of the Professional Cartoonists’ Organisation (FECO UK)

Issue 32


NEWS

THE FOGHORN Issue 32 Published in Great Britain by the Professional Cartoonists’ Organisation (FECO UK) PCO Patrons Libby Purves Andrew Marr CONTACTS & COMMITTEE: Chairman Andy Davey tel: +44 (0) 1223 517737 email: pco@andydavey.com Vice-Chairman Alex Noel Watson tel: +44 (0) 20 8668 1134 Secretary John Roberts tel: +44 (0) 1565 633995 email: john@mad-badger.com Treasurer Alex Hughes email: alex.hughes @alexhughescartoons.co.uk Foghorn Editor Bill Stott tel: +44 (0) 160 646002 email: billstott@lineone.net Foghorn Sub-Editor International Liaison Officer Roger Penwill tel: +44 (0) 1584 711854 email: roger@penwill.com Foghorn Layout/Design Tim Harries tel: + 44 (0) 1633 780293 email: tim@timharries.co.uk Website Co-ordinator Noel Ford tel: +44 (0) 7041 310211 email: noel@ford1.demon.co.uk Blog Editor Matt Buck tel: +44 (0) 1962 840216 email: pco@mattbuck.com

FOGHORN The magazine of the Professional Cartoonists’ Organisation (FECO UK)

Ever mindful of cartooning’s carbon footprint, this edition of Foghorn is printed on recycled rejection slips accrued by myself in recent months. Indeed, that heavy wad of disappointment would support Foghorns ad infinitum. In this significantly artistic number, saving the planet’s sanity is in the sure hands of Clive Collins who selflessly stood aside early in his film career and let Maurice Micklewhite take all the plaudits, whilst our *Motoring correspondent offends almost everybody, and Roger Penwill explains why airports are mostly naff. Sadly, the eagerly anticipated piece from

Steve McClaren [who he? Ed.] on his efforts to learn English didn’t arrive in time due to a dispute at the Glossop sorting office. * In the light of recent budget revelations, he was recently seen pushing his five litre tourer off Beachy Head. He left the scene on a moped. Bill Stott, Foghorn Editor.

It’s Barry!

Unknown shrew is the public favourite. From the ten thousand hopefuls who attended the regional heats up and down the length and breadth of a small culvert under the A49, Barry the Shrew has emerged triumphant as the Face and Other Parts of Shrewsbury International Cartoon Festival. In the final thirty-eight live shows held in a large culvert under the A5, Barry fought off strong competition in the final from the more experienced, and quite a bit bigger, Kevin the Stoat to win the hearts of the voting public and judges. Head judge, Bruno Volivoli, praised Barry’s brave use of the triple back-flip. And Barry’s singing of the Fagin anthem “Shadduppa your face” in the penalty shoot-out left lumps in many a throat.

Barry has just days to perfect his role before the Festival opens. He can be seen throughout this Foghorn and on certain Shrewsbury Festival literature showing his natural talent. One thing is certain, at the end of the day, his life is about to change forever.

Web info PCO (FECO UK) website: www.procartoonists.org BLOGHORN www.procartoonists.blogspot.com FECO Worldwide: http://feco.info Front Cover: Clive Collins Back Cover: Clive Goddard WWW.PROCARTOONISTS.ORG

THE FOGHORN 2


BLOGHORN

May un Mar Lady

His Master’s Line

The family of the late Dave Follows has organised an exhibition to celebrate the cartoonist’s work and legacy at the Potteries Museum and Art Gallery, Stoke-onTrent, from April 19 – June 29. Dave, who died in 2003, left a significant legacy of artwork that spans three decades. His work appeared in newspapers, comics, and magazines all over the world, including the Sunday Times supplement Funday Times (weekly for 15 years), more than 20 local newspapers, such as the North Staffordshire Evening Sentinel (daily for 20 years), and Buster comic. Dave lived in Stafford all his life. He had a special soft spot for the Potteries and its people. His daily cartoon strip May un Mar Lady, written in Potteries dialect, first appeared on July 8, 1985, in the Sentinel and was a local institution for nearly 20 years. The exhibition, May un Mar Lady: Three Decades of Cartooning by Dave Follows, includes a huge selection of Dave’s original cartoons, a reconstruction of his work area, life-size cartoon figures, a May un Mar Lady pilot animation, and a preview screening of a documentary exploring the Potteries dialect in the context of Dave’s cartoons by the Stoke-On-Trent based film production company Inspired Film And Video. Royston Robertson

The wily old dogs of European cartooning, or at least the ones not being chased by would-be-assassins, are on the move, as PCOer John Jensen reports. Dieter Burkamp, organiser of the annual Zemun International Salon of Caricature, and Branko Najhold, have had a wonderful idea: why not celebrate elderly cartoonists before they pop their clogs, rather than after? All exhibitors to the show would have to be 75 or over. As Branko’s introduction to the resulting book, His Master’s Line, succinctly puts it, all 30 cartoonists, from Western and Eastern Europe, each supplying three drawings, fairly recent, not more than ten years old, who “were at one time in the summit of European cartooning”. However, “glory is passing ... and as it happens, the most famous cartoonists of their time sink slowly in oblivion.” (Some not so slowly, I can tell you). “Some of them with trembling hands and with the eyesight weakening”. Yup. But a “master always stays a master”. Yup, again. Suitably buttered up, and as the only representative from the UK – why? Britain is filled with brilliant decrepitude – I was proud to take my place among the others to show “the new drawers” a thing or two. The exhibition began its travels in Zemun, Serbia and, after several journeys, will wind up in Oerlinghausen, Germany during 2008. A hardback book accompanies the show, costing about 25 Euros and Bloghorn will be publishing John’s review of the book soon.

PCO Artist of the Month for March 2008 was Dave Gaskill. Dave survived the perils of an engineering apprenticeship to emerge at a draughtsman’s drawing board. He swapped this for a cartoonist’s pen in South Africa and spent the next 13 years working for leading national papers. An Antipodean Period followed in both Australia and New Zealand. Lured back to Britain to join the Today newspaper in its early days Dave remained as its editorial cartoonist until it was closed nine years later. He moved on to Editorial cartoonist positions on the News of the World, the Mail on Sunday, The Sun and the Sunday Mail. During this journey Dave has also completed advertising work, book illustration and humorous cartoons for a great variety of markets and picked up a number of awards including 2002 Cartoon Museum Political Cartoonist of the Year. He is now settled in Lincolnshire with wife and assorted furry animals. Matt Buck, Bloghorn Ed

3 THE FOGHORN

WWW.PROCARTOONISTS.ORG


FEATURE CHRIS MADDEN

PCO Artist of the Month for February 2008 was Lee Healey. Cartoonist & illustrator Lee Healey, is a freelancer with over 17 years experience. Lee’s art has appeared in many magazines and comics, including Viz, Maxim, and The Dandy. Other clients have included the CBBC channel, Roy Chubby Brown,and video artist Mark Leckey. Lee prides himself on his versatility, and is able to turn his hand from simple cartoons to cartoon, comic or strip illustrations. Like many modern cartoonists, Lee completes, and delivers, his work digitally. Matt Buck, Bloghorn Ed

It’s the thought that counts

Chris Madden, Cartoonist for Philosophy Now Magazine, gets gobbledegooky. “What is philosophy?” That’s exactly the sort of question that a philosopher would ask. Because, for a philosopher, before you can talk about a subject, you have to know what you’re talking about. The Oxford Companion to Philosophy, which is a book that you’d think would supply the answer to this question, says that most definitions of philosophy are ‘controversial’. Other standard works on the subject use expressions that state that there’s ‘no straightforward definition’ or that defining it is ‘notoriously difficult’. This is exactly the sort of answer that philosophers want, of course. The great thing about philosophy is that you need never reach conclusions (or indeed must never reach conclusions) about anything - not even about what the subject is in the first place. As a result, when discussing philosophy you’ll never run out of things to talk about, or if you happen to be a professional philosopher you’ll never be out of a job. I once bought a book called ‘The Meaning of Meaning’, mainly because I liked the title. A big mistake. The first half was nothing but an attempt to pin down the definitions of the words that were going to be used in the second half. Needless to say, I never got as far as the second half, so I still don’t know what the meaning of meaning is. Although I now know the meaning of gobbledegook. It’s generally agreed that philosophy is the study of things by the use of rational thinking. WWW.PROCARTOONISTS.ORG

This is interesting, because a quick glance at a list of the world’s most significant philosophers will reveal that they are amongst the most irrational people on the planet. Take Ludwig Wittgenstein. As well as being one of the major philosophers of the twentieth century he also fancied himself as a bit of an architect, and he designed his own house (a task that was encouraged by his family so that he spent less time philosophising). When the house was nearly finished he discovered that the ceilings were lower than he’d wanted, so he had them raised. Three centimetres. Obsessive? Retentive? (At the same time he failed to notice that he’d put the staircase right in front of the hall window, blocking both the light and the view.) The ancient Greek philosopher Diogenes is reputed to have approached the subject of accommodation somewhat differently, and rather than building a house of idiosyncratic design in the manner of Wittgenstein chose to live in a barrel instead (This barrel story is sometimes reported to be a ludicrous myth, as he is much more likely to have lived in a much grander, altogether more spacious clay pot). As you can see, people who are of a philosophical bent can be somewhat eccentric. Indeed, a major problem that plagues the whole subject of philosophy is that it’s studied by people who are interested in philosophy. Ask a philosopher what the purpose of life is and you may get an answer along the lines of: To understand the essential

truths underlying the phenomenological universe. (It has to include at least one word that you can’t pronounce or spell.) This is very much the sort of conclusion reached by Socrates, possibly the most famous philosopher before Alain de Botton. He’s reputed to have said “The unconsidered life is not worth living.” But then, Socrates was a pompous bombast who was so pig headed that the authorities in ancient Athens asked him to poison himself with hemlock, just to get him out of their hair. And he was so pig headed that he did it. Ask a non-philosopher what the purpose of life is and you may get a totally different sort of answer: To enjoy myself as much as possible without inflicting irreparable damage on my health. Which to choose? It’s a tricky call. What do you think? (As with all things philosophical, end on a question.) THE FOGHORN 4


FEATURE CLIVE COLLINS

Clive Collins

Ready for my close-up, Mr. DeMille If you were watching a Norman Wisdom film the other afternoon, entitled ‘The Early Bird’ (and why the hell would you be? Most of you must have A Life out there) and you peered at the crowd surrounding the fire engine into which Norman dropped at the end of the film, you might have just about made out the cadaverous figure of Yours Truly, looking bemusedly gloomy, among the select group of people known to one and all as film extras. For this is what I did for a year or so before I took the plunge into the shimmering and glamorous world of cartooning – shimmering and glamorous compared to being a film extra, that is. In the 60’s, the UK had a busy film industry. Once you’d negotiated the minefield of film-making ‘practises’ like how to obtain your highly-prized membership cards – Equity and the Film Artistes’ Association being among them – there was a goodly amount of work around, provided you realised that you would always be an anonymous figure at a bar or a pedestrian in a street scene. Extras didn’t have names in cast-lists, but back then, with a daily wage of £10.00 (for bog-standard ‘face in the crowd stuff’), a free meal and insurance stamp paid, those little cavils meant nothing. Way back then, at £10 a day - or £50 a week - you could live like a prince (or at least a Pretender ) and still have change for a bag of chips. I think it translates these days into a not-unreasonable £80 a day, well worth doing if you don’t mind loitering. (Don’t answer that.) I was a ‘a Non-Speaking Extra’, also known as ‘Bog-Standard’ Very occasionally you were handed a few lines to speak – though nothing that could be deemed ‘acting’, and we were never given a character title - and for this, a few more bob was usually added to your fee at a rate strictly regulated by Equity. The rivalry between the various grades of extras was rather as Ricky Gervais portrayed it, and whilst it was nice to have cash in hand, the time did drag, especially when you were collected at sparrow’s fart and by the end of a twelve hour day, had still made no moves for the camera. The money was good, but we were definitely at the bottom of the food chain. I appeared in that howler of 1965 ‘Doctor Who and the Daleks’ and I defy anyone to spot me in gold body paint,

a gold string wig and a silly alien costume, lurking menacingly in the background. My sister was with me, dressed similarly, but at 5’ 2” looked like my daughter. You won’t find my name in the credits there either. The Dalek operators all got their names in, but not we extras. Background Casting (Extras work) occupied a tatty suite of offices in Poland Street, where, in response to questions like ‘Can you ride a horse? Can you swim 300 lengths of a pool? Can you run in full army kit? Can you wrestle alligators?’ it was wise to say yes, because the chances of you being asked to do any of them were remote, and besides, with these make-believe skills against your name on the books you felt jobs might come your way anyway. The time spent waiting for action was great for jotting down cartoon ideas – and even sketching them. It was like having your own gigantic study with a canteen attached. Although proper actors and actresses tended to keep themselves separate from the extras, if they found out you drew, then you were in luck and at the tender age of 22 I had built up quite a collection of rudimentary caricatures. The late Film Director, John Frankenheimer once described, on ‘Parkinson’, his experience with British film extras while making ‘Grand Prix’ in Kent in 1966: a pile-up of racing cars was scheduled as a high point of the film, but in the rehearsals building up to it, he couldn’t get the right expressions from the hundreds of extras who were lining the track as spectators. Try as he might, with each rehearsal they looked more and more bored, uninterested; kept looking the wrong way and generally weren’t giving him their full attention. So at the appropriate moment in filming he had the location catering wagon blown up, bringing forth from the crowd the exact looks of horror and panic he’d been seeking. There is a mind-numbing boredom factor with film work, especially if you’re down among the Z-men of Extra work, and I quickly realised just how time was slipping away without taking me with it, which is why a year and a bit was enough. It wasn’t until the end of the 60s that I actually became part of another form of show-business and entertainment. In Fleet Street. When Murdoch laid out his wares in the spanking new Sun in November 1969, I was among those he hired, and all around me the world of journalism in Britain changed forever. This was showbiz, red in tooth and claw, when the front pages became obsessed with TV and the cult of celebrity, and it has never looked back. Extras cv: ‘Promise Her Anything’ - 1965 (Warren Beatty, Robert Cummings, Leslie Caron); ‘Doctor Who and the Daleks’ - 1965 (Peter Cushing, Roy Castle, Jenny Linden); ‘You Must be Joking’- 1965 (Michael Callan, Lionel Jeffries, Denholm Elliot); ‘Stars & Garters’ (TV) – 1965. Hosted by Ray Martine (the man once described by Ted Ray as having ‘all the qualities of Oscar Wilde apart from his wit’); ‘Those Magnificent Men in their Flying Machines’ - 1965 (Terry Thomas, Gert Frobe, Sarah Miles, Robert Morley and others) ‘He Who Rides a Tiger’ - 1965 (Tom Bell, Judi Dench, Kay Walsh); ‘Court-Martial’ (TV) - 1966 (Bradford Dillman, Diane Cilento etc., etc.,) Countless cigarette and Guinness ads.

5 THE FOGHORN

WWW.PROCARTOONISTS.ORG


FEATURE SHREWSBURY

Shrewsbury International Cartoon Festival is the only event of its kind in the UK. Cries of “Shame! “and “So what?” Well, it’s a shame because the UK boasts some of the best cartoonists and caricaturists in the whole damn world. And their work doesn’t get seen anywhere near enough. OK? And if you think “So what?”, don’t bother reading any further. Magazine and newspaper editors feature good cartooning and caricaturing less and less in an age in love with clip art and the computer’s sense of humour. A fiddledwith photo supplants the skilful caricature. Mindless celeb pics dominate magazines obsessed with who’s being a Love Rat or how her off the telly shed 32 stones in two day... [calm down. Ed] Shrewsbury’s Cartoon Festival shows the public what its missing. This year,the Festival, brainchild of Roger Penwill, cartoonist, ex architect and bearded person shows yet again what can be achieved when an imaginative council, in the person of Alison Patrick, Marketing and Tourism Officer, [non – bearded person], and Karen Lloyd, representing the very civil Civic Society get together with an invited battalion of the country’s top cartoonists and caricaturists. It’s all about providing, on a beautifully fashioned shoestring, the chance for the public to see cartoonists and caricaturists actually working. There are some utterly stunning and very funny exhibitions, and added value lies in the chance to watch twenty cartoonists each working on an 8ft by 6ft [that’s “BIG” in metric] board producing massive cartoons in the Market Square, which also sports for the first time, a point of sale courtesy of Cath Tate Direct where you can spend daft money on cartoon prints and books, then rush off and get them signed by yer actual cartoonist. [some can write their own names!] Cartoon clinics and workshops show how the professionals do it, whilst one of our distinguished Patrons, Libby Purves, strides about the place striking people who are not laughing with a rolled up Radio Times. It all kicks off on Friday 18th of April, rising to a deafening crescendo of uncontrollable mirth on Saturday 19th April, and then slowly winds down whilst the more elderly artists are carted off to A&E on Sunday the 20th. ENJOY. THE FOGHORN 6


FEATURE SHREWSBURY

Festival cartoonists interpret the theme of Art any which way they will, in an exhibition of around 80 cartoons. Most pieces are for sale and include originals and prints. 1st - 26th April, Bear Steps Gallery, First Floor, open daily 10am - 4pm and at Cath Tate Direct, Hills Lane, open Mon - Sat 9.30am - 5pm and Sunday 20th April 10am - 4pm.

“Seven hundred and fifty thousand. Any advance on seven hundred and fifty thousand?”

Ralph Steadman


FEATURE SHREWSBURY

“oh no - we’ve been Bruegeled!”

Cartoons by Dave Brown, political cartoonist for The Independent. The Rogues Gallery series, a wickedly satirical interpretation of the Old Masters, has appeared in The Independent since 2004. This exhibition is a selection of around 40 of the best cartoons of the last three years. Prints available for sale. 1st - 26th April, Bear Steps Gallery, Ground Floor

THE FOGHORN 8


FEATURE SHREWSBURY

Exhibition celebrating the art of caricature and famous faces from the arts world. Selling exhibition; originals and prints from top UK and overseas caricature artists. 20th March - 26th April, Shrewsbury Museum and Art Gallery.

Tom Wolfe by David Levine, Bob Dylan by David Cowles, Pete Doherty by Noma Bar, Neil Young by Sebastian Kruger, Charles Dickens by Court Jones.


CURMUDGEON

The Culture Show It used to be called The Department of Education. It used to stay clear of telling teachers what to teach, presiding instead over ways of sheep/goat separation via the 11+ and how many men could dig a trench in six hours if... etc But now, said dept. has had a name change, to something I don’t recall, got a Minister called Adonis – or maybe he’s moved on to gym regulation – and a Secretary named Balls. Between them and, no doubt several think tanks full of highly intelligent twerps, they’ve come over all revolutionary and decided, to national media fanfare that, wait for it... COOKERY SHOULD BE TAUGHT IN SCHOOLS ! Bloody hell ! Fantastic idea ! What next? I will tell you what next. Adonisballs

has/have decreed that children should get at least five hours culture per week. As opposed to the rest of the hours spent in school which, as we all know, are not cultural. Ed and Keith went further and said they feared such a programme might be difficult to deliver because of the shortage of suitably trained teachers. Mainly because the original ones retrained to become IT instructors during the last government Great Leap Up and Down. Besides, who needs it ? Art [which is a type of culture, apparently] has never been more accessible for we proles. There’s stacks of it all over the place. And its easy – peasy to understand. “So tell me, what does your work mean?” “Well, anything the viewer wants it to mean, really” This last from a lady artistperson on Womanpersons’ Hour the other week. She won a prize a while ago for blowing an allotment shed to bits, then hanging up the pieces afterwards in a gallery. So you see Ed, its simple. “What do think of that, Kyle ?” “Its shite, miss” “Excellent. Pass !” AND, it wouldn’t take five hours, either. There’ll be more than enough time to introduce another revolutionary subject like, say WOODWORK! Now there’s a subject for you. One of the reasons behind the anti social behaviour of youths today is that they haven’t the slightest idea of how to make a solid oak toast – rack. With dovetails. I’ve still got mine. In all my adult life,

I have never had to buy a toast rack. Significantly, I’ve never knifed anybody, stolen a car, or used a hood. So, bring it on Ed – cookery, woodwork, art, let’s make this nation great again. And who knows, if you’ve got the bottle, in a couple of years, we’ll get the icing on the cake....... COUNTRY DANCING !

The Woodwork Teacher

Aka The Metalwork Teacher. Originally, redundant Lancaster bomber crew given 45 minute Teacher Training in 1946. The best got Woodwork, also-rans got Geography and the dopes, P.E. Uniform featured a BROWN coat as opposed to the nambypamby white ones worn by Science staff.

Random acts of humour

WWW.PROCARTOONISTS.ORG

THE FOGHORN 10


THE FOGHORN GUIDE CARS Here it is! Featuring contributions from leading authorities, Foghorn presents

THE PCO ESSENTIAL GUIDE TO QUITE A LOT OF STUFF! continuing in this issue with...

Cars fall into three categories: the one we’ve got, the one we want, and those driven by folk who don’t care about cars and say boring things like, “As long as it gets me from A to B….” These people often wear cardigans. Here’s a general overview. Sensible Cars Anything which looks like a wheeled cake, e.g, the very sensible but aesthetically repellent Smart car; metal sheds like the Suzuki Wagon R; upright, stunningly ugly, capable of 300mpg, and favourite of men in belted raincoats. And cardigans. Larger sensible cars are the so-called People Movers, designed to encourage procreation vans with windows, lots of seats and 16 separate cupholders. Stupid cars This depends on where they live. If they’re Japanese 4x4’s and called Navara, or Warrior or Animal or Patrol and live in down town Stoke on Trent, they’re stupid. If, on the other hand, the owner is domiciled half – way up

“I’ve fitted a spoiler to the car...”

a mountain in Wales, he should have a Landrover anyway.

to be something else. Not unlike people who go to the hairdresser’s a lot.

Hairdressers’ Cars First off – nothing wrong with being a hairdresser. Probably. Lots wrong with the cars they choose though. Toyota Celica, Hyundai Sports [snigger] Coupe, the very ugly and dreadful VW Beetle Mk 11, and the hump backed Audi sports coupe [the one which looks the same either way round]. These are all cars trying

Cars With Daft Names Kia make a people mover called a Carens. Caren’s what? Proper Cars These are vehicles which cause Kia owners to have sometimes fatal attacks of pure non understanding. You can buy a second hand four litre TVR Cerbera capable of a 0 – 60 time which would enable you to escape from a black hole for less than a new *Nocetti. This means nothing to Sensible Motorists. That an XK Jag is beautiful doesn’t register, or a £2000 10year old Nissan 300zx is better looking than Cameron Diaz’s slightly older sister is incomprehensible. Does it have cupholders? Will it have the same beige upholstery as my imagination? Will it do 50mpg? Is it so heavily armoured that I can carry on driving like a berk? These and many other questions will be answered in part two – “What to do if an ailing, rich relative promises to leave you the lot, providing you promise to drive a Zafira” *A sensible car sensibly named after an Italian xylophone

11 THE FOGHORN

WWW.PROCARTOONISTS.ORG


FEATURE BUILDINGS IN THE FOG

Random acts of humour

“Sure, I came up with fire, and the wheel, but you’re only as good as your last idea”

AIRPORTS The art of architecture is not really about the structure or how the building envelope keeps the wet out. Architecture is about space, how you enclose it and how you move through it. Lugging your luggage whilst looking for check-in Zone Z, you may have noticed that airports have big spaces. They need them to cope with the flow, or often the lack of flow, of a great many people at one time. Having, by necessity, seriously wide spaces, what you notice at airports are the ceilings, which are most often the very roof itself. And the roofs are often a disaster; literally, as in the case of the Charles de Gaulle airport a few years back. The terminal there is so grim it decided to demolish part of itself in protest. Unfortunately in making it’s point it also killed five people. The place is an endless curving tunnel, with little to distinguish one part of it from another. To walk through it is dishearteningly like walking on the spot – you never seem to get anywhere. If you submit and take the shuttle bus to another part of the terminal it is packed with stressed people saying the equivalent of “Does this go to Terminal 3?”, “Is the right one for Paris?” or “Where the *?@k’s is this thing going?” in several WWW.PROCARTOONISTS.ORG

languages. Definitely a disaster, and, when the cleaners go on strike, a rubbish dump too. The UK airports I’ve experienced haven’t cracked the problem either. Heathrow’s cavernous terminals have gloomy or bland expanses of ceiling. Checkout the swooping roof of new Terminal Five – see the promo video at www.terminal5.ba.com/en/. The blurb promises “It’s the culmination of an amazing project that began with one thought – to make connecting the world simple and pleasurable again. The result is a seamless and upgraded airport experience unlike any other in the world..” Hmmm. Nice thought and we’ll see. Does rather infer they know how grim are their other terminals. And that curving roof still looks oppressive, the arched space being slightly reminiscent of Charles de Gaulle. Oh dear. Stansted was a bold attempt to make an airport feel light and comfortable. Sadly that feeling has been lost by the chaotic clutter of check-ins and other booths. The job architect for that place must weep when he goes there. No doubt he chooses Luton when he can. There’s only one international airport I’ve passed through that has got the roof right. That is Denver, Colorado. The roof there is a series of translucent tents giving a light and airy feel to the place. The spaces below aren’t static and dull and there is something

undeniably friendly about a tent. The flowing parabolic curves somehow lift the spirits and if there is any place that desperately needs spirits uplifted in its an airport. It works both inside the building and outside. Set in a plain surrounded by mountains, the row of tent peaks also work as a witty reflection of the airport’s location. A couple of years ago, the Denver airport authorities were inspired to commission Luis Jiménez to create a 30ft fibreglass sculpture of a rearing stallion to welcome visitors. It was a shame it fell on the artist, killing him. Dangerous places, airports. Must be why they are called terminals. Roger Penwill

THE FOGHORN 12


THE LAST WORD

Letters to the Editor

The Gallery

Snail Mail: The Editor, Foghorn Magazine, 7 Birch Grove, Lostock Green, Northwich. CW9 7SS E-mail: billstott@lineone.net

Festival Fun My family and I have just returned home after visiting Shrewsbury International Cartoon Festival, where I bought this so – called magazine. What a rip – off ! Five pounds for a dozen pages of stupid drawings and articles none of us understood. There were no celebs or puzzles or anything. Even my lady wife Sharon, who once met Patrick Kielty and is generally rated as having a GSOH, thought it was a waste of money, especially as it looks like we will have to get rid of the 4x4. Then there was all the so – called artists painting on so – called board things in the Market Place. We did not get any of the so – called jokes and when my eldest, Shorn [12] said to one of the so-called artists ‘Ey, mate, lets have a go’, he was told to clear off or he’d get a fat lip. I was going to write to the Council and complain, but apparently they support all this cartoon rubbish, so they must be stupid as well, too. Yours truly Maurice Norris [Glossop]

13 THE FOGHORN

WWW.PROCARTOONISTS.ORG



The Foghorn - No. 32