Keep an eye out for my Netflix comedy special in the latest issue of MAD Magazine. It definitely exists.
#NY 4th year anniversary!!! SAT 4/20 7p at Union Hall (702 Union St, Brooklyn, NY 11215)
COMEDY BY: Josh Gondelman, Larry Owens, Clare O'Kane, Karen Chee, Calise Hawkins, & Robert Dean! ANIMATION BY: Bryan Brinkman, Dan Pinto, Jason Chatfield, Patrick Hosmer, Victoria Elena Montes, Rachel Gitlevich & James Sugrue! HOSTED BY: Ian Fidance!
$8 online at https://www.eventbrite.com/e/picture-this-tickets-571204417…or $10 at the door🚪
New York-based Australian comedians Scott Dooley and Jason Chatfield return for their first live podcast for 2019. The guys will be joined by a HUGE special mystery guest: a Hollywood movie and TV celebrity to be revealed on the night. Other Live Podcast guests have included Comedy Central/Netflix’s Roy Wood Jr and long-time New Yorker Cartoon Editor Bob Mankoff.
Come along for a show full of jokes, live cartoon drawing on the big screen and deep rumination on New Yorker cartoon ideas over a couple of beers, along with cartoon live idea suggestions from you, the audience.
Doors 9:00 PM, show 9:30 PM.
Tickets $10 Presale at bit.ly/ITSITApril9 or $15 @ Door
This event is mixed seated and standing room. Seats are first-come, first-served.
REFUND POLICY: Tickets maybe be refunded up to 24 hours before the event. Within 24 hours we may take exchanges for other events at our discretion. No refunds after the event.
This will be great fun! I’ll be appearing at the Satire and Humor Festival in New York for The Weekly Humorist - Tickets here.
The first-ever satire and humor writing festival in New York, featuring writers and editors from print, TV, web, and film! Come join us for a full weekend of panels, workshops, readings and fun. Check out our festival events and workshops throughout the weekend.
Festival Passes on sale now! The Satire and Humor Festival Pass gives you access to all Satire And Humor Festival events at Caveat!
Register for workshops on topics from cartooning to creating characters!
All workshops are held at our festival partner Magnet Theater’s Training Center. Click the links for workshop descriptions, instructor bios, and registration details! All workshops are NON-REFUNDABLE.
SATURDAY, MARCH 23
10:00am - 12:00pm: JOKE IN A BOX taught by Emily Flake
10:00am - 12:00pm: PUNCHING UP taught by Taylor Garron and Eva Victor
12:00pm - 2:00pm: HUMOR WRITING FOR INTROVERTS: LOOKING INWARD taught by Elissa Bassist
12:00pm - 2:00pm: CREATING CHARACTERS WE LOVE TO HATE taught by Chrissy Shackelford
SUNDAY, MARCH 24
10:00am - 12:00pm: THERE’S NO “I” IN “SHORT HUMOROUS PROSE” taught by Luke Burns
10:00am - 12:00pm: LET’S GET SPECIFIC, WEIRD, AND TIGHT taught by Kimberly Harrington
All workshops are two hours and $50.
Still pulling stupid faces on stage in New York. Real growth.
Pick up a copy of this week's New Yorker and swiftly flip to page 45 to cop an eyeful of this wee scribble.You can hear it being plucked from the ether on our weekly podcast "Is There Something In This?" with myself and Scott Dooley, wherever you listen to your pods.
This one is discussed on Episode #8: 'Larry Juice', which you can hear here.
Last month I was invited to have lunch with a bunch of New Yorker cartoonists and the film director, Gus Van Sant. Gus directed of some of the greatest films of the past 20 years: "Good Will Hunting", "Milk", "Drugstore Cowboy", and has just released another brilliant film about the cartoonist John Callahan, "Don't Worry, He Won't Get Far On Foot."
The invitation came from the Cartoon Editor of the New Yorker, Emma Allen, at our weekly Tuesday cartoon meeting. I was flattered to be asked, and to say the lunch was surreal is an understatement. I was more starstruck by some of the other cartoonists who showed up than I was by Gus!
The lunch took place at the decades-long traditional weekly 'cartoonists lunch' which usually takes place following the Tuesday cartoon meeting at the New Yorker. We shuffle up to Pergola Del Artistes in the Theatre District and talk shop over duck salad and cheap red wine.
6 of us ordered the gigantic duck salad and noshed away as Sam Gross held court, telling stories of his experience with Callahan and with other New Yorker cartoonists. Gossip and scandal aplenty! At one point I scribbled a quick portrait of Sam on the tablecloth and pitched a gag caption for one of his cartoons to a tableful of eye-rolls. Emma wrote up the goings-on at the lunch in this week's New Yorker in the "Talk of The Town" section.
You can read the rest of the article here:
This one may well take the record for longest New Yorker cartoon caption ever...
This caption is, by the way, verbatim. We have not altered this actual speech by President Trump at all. The poor proof-readers and fact checkers at the New Yorkerhad to parse it word for word. Thank you, team.
As always, you can hear Scott Dooley and I coming up with these silly gags on our weekly podcast, Is There Something In This?
Forgot to post this last week! Here is a cartoon I did for MAD to 'celebrate' chef Guy Fieri getting a star on the Hollywood Walk of Fame...
A new report finds that Bitcoin could “bring the Internet to a halt.” Bitcoin won’t confirm, but the report hints that the plan will involve a champagne glass strategically balanced on Bitcoin’s butt.
From Emma Reynolds at News Ltd:
Australian comedians draw Donald Trump’s attention with cheeky cartoon
TWO Australian comedians have drawn Donald Trump’s attention with a cheeky New Yorker cartoon.
A PAIR of Australian comedians have attracted Donald Trump’s attention with a cheeky political cartoon published in the New Yorker.
A pile of media clippings is delivered to Mr Trump every morning and afternoon, and on this occasion, their cartoon was near the top of the pile, the lobbyist told them after attending a White House meeting.
“He was like, ‘I really like this,’” Jason tells news.com.au. “I guess he just saw himself and he liked it.
“He’s got tiny little hands ... but he obviously just sort of went, ‘Yeah that’s me, I love it.’”
The cartoon is not particularly flattering, showing Mr Trump watching the gun march on television and blaming video games — a parody of Republican remarks on deaths by firearms.
“It sucks because that’s the biggest insult a cartoonist can get,” says Jason, who spent ten years drawing for local and national papers in Australia. “You ask any political cartoonist, if the person you’ve drawn likes it, you’ve failed, dismally.”
The 34-year-old says he was much happier when Mr Trump blocked him on Twitter earlier in the presidency, after Jason asked the former reality star if he was drunk.
Scott, on the other hand, says he was “rapt” that the President liked their cartoon and told his mum.
The stand-up comics have had great success with their satirical New Yorker drawings, and have now started recording a podcast based on the cartoons. Their images have covered almost every Trump scandal, from the Stormy Daniels saga to the Syria missile strike.
While Mr Trump’s presidency has provided a rich stream of material for humour, they have also delved into topics including Kanye West’s outburst, the Met Gala, Mark Zuckerberg and bitcoin.
When the pictures are too edgy for the popular American magazine — one was a cartoon of a death-row inmate taking an Instagram photo of his last meal — they sell them to Australian publications including MAD magazine.
“Every Friday, we hear back from the [New Yorker] editor whether we got in or not,” Jason says. “I go in on a Tuesday morning and sit with the editor and she gives her feedback. There would be roughly 25 people who slip in throughout the morning and it goes on into afternoon.
“It’s the last open-call cartoon meeting in the world.
“It’s so competitive. They get thousands of entries each week. They choose about 16.”
The pair sold their first cartoon to the magazine around the year ago — a surreal joke about “Vlad the Employer”.
They also write and appear on stage and television — although Scott, 38, says one American told him “Aussies don’t talk like that” when he auditioned for an Australian character.
The twosome are now preparing to turn the podcast Is There Something In This? into a live show, sketching out audience suggestions in real time. “I’m just glad two white male comedians have finally made a podcast,” jokes Scott. “For so long it’s been crying out for that — it’s a hole in the market.”
He says he doesn’t have the answers to the political problems of our time. “If I did, I wouldn’t be here writing jokes.”
But he adds: “You don’t want to pick a side necessarily. I think finding the logic for it is more important than trying to have a really right-on moment.
“We’re in danger of just finding ourselves in heated agreement with people we like and then as a result, when you meet people you disagree with, it becomes a very combative exchange.
“I always feel like any political discussion, you’re only ever one move away from being called Hitler or a snowflake. I don’t think that’s a great way to end a conversation.
“It’s also interesting to see what people think is the big news story because on any given day now — I feel like I’m longing for a decade ago — but you’d go, that is today’s story. Whereas now at 9am, you’re going right, it’s one of the following three or four, and that’s if there’s not some terrible shooting.”
Jason begins his stand-up routine by telling the audience: “I’ve wanted to live in America my whole life. I feel like I’ve caught you at a weird time.”
He moved to New York several years ago when Barack Obama was President. “As soon as I started living here, it turned to this,” he says. “And so I’m very angry, I feel like I’ve been short-changed. I feel like finally I’m in this land of opportunity and it’s turned into Russia.
“Some of the crap he says is beyond parody, so it has become very difficult for us to find a gauge, to make something seem silly, because it already is silly.
“We’ll be like, what’s the Trump angle and how do we make this funny without just showing what happened? So what’s our take on it, so we’re trying to develop a unique voice in the process.
“I guess we’re outsiders looking in, in a way. We’re Aussies in America, so we do have a unique take on American politics.”
Today I spoke to Gen and Lewis on Triple J about the new pod, drawing Larry David and being a cartoonist in the Trump era. Click image above to listen to the interview.
Aussie New Yorker cartoonist Jason Chatfield on caricaturing Trump
Gen and Lewis were joined down the line by ‘Australia’s most widely syndicated cartoonist’, Jason Chatfield, only to be lightly roasted by the magic of cartoons.
Jason’s work has been seen in over 120 newspapers in over 30 countries around the world and you might have seen his work on Ginger Meggs, MAD Magazine and the New Yorker. He’s also recently started a podcast with triple j alum Scott Dooley where they workshop ideas for New Yorker. He joined us to talk through how he got here and one Trump doodle in particular.
One of Jason’s career highlights to date (/highlight of his life, in general) was when he was asked to draw Larry David for the wall of Sardi’s Restaurant (a New York institution). At the time he wrote: ‘I don’t know quite how to describe how much I revere Larry.’ It was a big moment. So, how did he get here? How did he go from Perth to caricaturing his “spirit animal” for the world’s most legendary wall of caricatures?
According to Jason, it was a relatively classic tale: he used to get in trouble doing it in school until someone paid him to draw a teacher and he was off. Also, says Jason, “It was really just the only employable skill I seemed to have — you know, makin’ jokes — so I pretty much just did it as a hobby until it became a job.”
He’d previously been working as a printer during the day and doing caricatures at night. “I was burning myself out, burning the candle at both ends, so I decided to ditch the full-time job when I was like 19 or 20.” So after transitioning into officially being a cartoonist, how did he start making money? “It isn’t easy, I’ll give it that,” says Jason. “You’ve kind of gotta be able to do everything. You’ve got to be able to do political cartoons, and comic strips, and caricatures, and illustrations, and animations, and everything so you become a bit of an all-rounder.”
But by working in America, Jason says, he’s been able to specialise “because there’s enough work to go around.” Having said that, Jason is currently writing for MAD, doing cartoons for the New Yorker, writing Ginger Meggs everyday, doing stand-up at night and podcasting with Dools, so his work is being spread far and wide.
‘Is There Something In This?’ began because they were already workshopping ideas for cartoons at the pub anyway. So at some point, Scott suggested it might make a good podcast. To which Jason replied: “Absolutely not. There’s no way that anyone wants to listen to us talk about a visual medium but we did it and I’m being proven an idiot every week because it’s become very popular over here.”
One of the cartoons they workshopped, which was eventually bought by the New Yorker, was of Trump around the time of the National School Walkout to protest gun violence. It got back to Jason, through a lobbyist friend who was in the White House on the day it came out, that Trump actually liked it. “It was the worst day of my life,” says Jason.
“The best thing for a cartoonist is if someone doesn’t like your cartoon if you drew them. If you do a political cartoon and the politician hates it, then you’ve really done your job.”
"Apparently he just didn't read the tag and he just saw his face and must have loved it. He blocked me on Twitter a while ago, though, so I haven't actually been able to read his tweets for a while. It's bliss."
I scribbled up a comic for MAD Magazine today, written by Peter-John Byrne.
Here's one of mine and Scott Dooley's pieces in MAD today...
Last weekend myself and 6 other comics were booked on a show up in the remote woods of Connecticut.The venue was a local Jewish Community Centre in a small, remote town called Sherman.
The booker of the show, also a comic, was generous enough to let me hitch a ride with him up to the show. It was about a 2-hour drive, which of course included my obligatory stop for clam chowder and coffee.
We arrived at the venue for soundcheck to find a small hall with a raised stage with a baby grand piano and a Japanese divider screen, and one single old man sitting asleep in the front row. I guess he wanted a good seat.
The other 4 comics trickled in as the hall filled up with elderly patrons. We surveyed the sea of blue rinse and baldness with growing concern about what material we might use in the show that would go over with this octogenarian crowd. We were told to work 'clean'.
Once everyone was seated, a voice from behind us said "5 minutes to showtime!"
I slunk over to my friend and fellow comic, Neil Rubenstein to say hello and prepare for my inevitable spectacular bomb.
The lights were dimmed as a small, bespectacled lady in her 80s shuffled out in front of the crowd, now adjusting their hearing aids, and addressed them with a warm welcome.
But then... she said,
I froze. This could not be good.
Dumbfounded, I turned to my left to see Neil's reaction...
I turned back to the old lady as she continued with her welcoming address...
A wave of audible gasps could be heard rolling around the now mortified audience. I couldn't believe what I was hearing. Was she being serious?
I turned and grabbed Neil's arm to find him stifling a laugh, convulsing in an effort to suppress a gig-ending guffaw.
Neil and I briefly excused ourselves from the room as we breathed out and conferred with each other in the break room -- "Is this really happening? Is she honestly doing this right now?" He replied, "This is going to be a bloodbath."
We composed ourselves and snuck back through the doors to see that our hostess had now decided to bring out a brochure, showing a series of old violins from a museum in Connecticut.
We caught the end of her sentence...
At this point, Neil was giggling uncontrollably and trying desperately not to make any noise, but it was too late. The only two young audience members (in their 40's) in the audience had spotted Neil laughing and it had become contagious. They began stifling their own uncontrollable chortles.
The hostess added, "And you would be able to see those at the Museum of Recovered Art..." whereupon Neil leaned over, and after three attempts finally got the words out,
"... but, sadly, the museum burned down."
at which point I burst out laughing, along with the rest of the back row of comics, sick of mind and bereft of soul.
Then, just as we thought it was all over, there was one last addition to her devastating spiel...
Because of course it was.
She then straightened up, looked to her left and said...
I did not do well.