近距离内射合集

Editor鈥檚 Note: The Centennial Sundays series marks 100 years of the Pepperday/Lang family鈥檚 ownership of the 近距离内射合集 鈥� a true milestone considering the rarity of family owned newspapers. Today鈥檚 stories focus on the Journal鈥檚 long history of strong opinion pages and their content. 

Talk about legacies.

One of the Journal鈥檚 longest-standing and best known journalists doesn't write stories.

Instead, he uses his pen (yes, it鈥檚 still a pen, not a computer) to create images, accompanied by a few pithy words, to make people chuckle and think and sometimes (not often, he acknowledges) see a different point of view.

John Trever has been penning his editorial cartoons for the Journal for 50 years. During that period, he has produced roughly 10,000 cartoons and won multiple local, regional and national awards.

鈥淗e's especially good at covering New Mexico events,鈥� said Dan Herrera, whose career at the Journal spanned more than three decades, many of them serving on the paper鈥檚 Editorial Board in different capacities. 鈥淲hen I was the editorial page editor, he was doing six cartoons a week, which just coming up with that many ideas is an incredible feat. But they all were spot on.鈥�

In 1980, Trever became syndicated, and his work was part of a package of cartoons that went out to more than 300 newspapers nationwide. At that time, nearly half of his cartoons were about national events and the rest local.

He semiretired in 2010, and now produces roughly one local cartoon a week. He still comes into the office to work on that week鈥檚 cartoon, sitting at his drawing desk next to a glass wall that looks out over the newsroom. 

What makes his cartoons so memorable is they often state the obvious but in clever and creative ways. During one balloon fiesta, he drew two mayoral candidates in hot air balloons attempting to ascend to the Mayor鈥檚 Office. They were facing off in a runoff election because neither obtained the requisite 50% of the vote in the initial election. In the cartoon, a balloonmeister comments: 鈥淭hey鈥檙e gonna need more hot air.鈥� A spectator deadpans: 鈥淣ot a problem.鈥�

鈥淛ohn Trever is a national treasure, he really is,鈥� said Herrera in a recent interview. 鈥淗is cartoons are funny, they're hard hitting, and he hits everybody equally. And, he's a nice guy, too.鈥�

Recently, Trever sat down for an in-depth interview about his favorite cartoons, his method and his memories at the Journal. Here is an edited version of that interview.

For years, you produced five or six cartoons a week. Where would you get your ideas? 

I would start out the day at breakfast time, getting the morning Journal and, you know, I would read it just for pleasure 鈥� headlines, sports, comics ... and maybe note subjects of interest. When I got to the office, I would read the rest of the paper looking for topics and possible ideas. I usually came up with two or three. I did rough cartoons, pencil roughs, on scrap paper, that I would show the editorial page editor. If I got an approval on a particular idea, I would do that. 

I would then ink it up into a fully developed cartoon. I'm totally analog, old school. I finish my cartoons with brush and India ink. I use felt tip pens for the lettering.

How many cartoons were your ideas?

My background was in political science, so I didn't need any guidance on what my opinions were on things. And the Journal gave me pretty much a free hand.

Was it rare for a cartoonist to have that much freedom?

I was grateful to the Journal because when I went to the national conventions for editorial cartoonists, half of them would be griping about all the cartoons they had killed by their editors because of a difference of political philosophies and opinions. And so many cartoons got killed that one year the society decided to institute what they called the 鈥淕olden Spike Award.鈥� They would seek spiked cartoons and give an award at the banquet for the best one that never saw the light of day.

I could never enter because I didn't really have that problem. And, so I had one of the relatively freer hands among the national group of cartoonists in the country, I think.

What鈥檚 your goal when you draw a cartoon? 

I just want the opportunity to put my voice out there with my opinion. But I want to put it out in a way that's laced with some humor, because humor is sort of a backdoor way to worming your way into the reader's consciousness. Even though they might not agree with you here, they might appreciate the cartoon. They might get a chuckle out of it or whatever.

So if I change minds, that's fine. But I doubt that I change a lot of minds, particularly these days.  

What was one of your more controversial cartoons?

It involved the sex scandal in the Catholic Church that we actually had in this state 10 years before it became a big national scandal in Boston and other places. And so in the 鈥�90s we had a whole lot of stories on that because there was a place up in the Jemez (the Servants of the Paraclete) where they would send the priests that had had a problem. And so I drew a Catholic confessional and a voice from inside saying, 鈥淔orgive me, for I have sinned. I have had impure thoughts, committed indecent acts.鈥� The other voice says: 鈥淚s it my turn to talk yet, Father?鈥� And, so that was a bit controversial 鈥� for one that I would dare to picture the confessional in the first place.

Can you talk about your style a little?

Well, as far as the caricaturing, you can really exaggerate. But caricature is not my strong suit. I rely more on my political analysis. So I tried to make my caricatures representative, recognizable, without being really grossly exaggerated. 

Who was difficult to caricature?

I've usually managed to caricature all the presidents and the governors well enough that people recognize them. The problem I have is with all the women governors that we have because women are harder to cartoon without being offensive. With women, you know, their features are much softer.  

I understand that some subjects of your cartoons wanted the original or copies. Is that true?

Yes. The first mayor who was running the city when I got here was David Rusk, who recently died. This cartoon I did, he got the original and it was up in his office, apparently, behind him in the picture we ran in the Journal with a story about his death.

Rusk was famous for instituting Downtown Saturday Night. So I did a takeoff on John Travolta and 鈥淪aturday Night Fever.鈥� And he liked it enough that he asked for the original.

(Gov.) Bill Richardson had a ton of my originals. And yeah, (Sen.) Manny Aragon, believe it or not, had a lot of my cartoons.

Who was a favorite subject?

Manny Aragon was the kingpin of the Senate for many years in the 鈥�80s and 鈥�90s. I did a lot of cartoons about him. He was often at loggerheads with Gov. Gary Johnson, who at one point, in frustration, said, 鈥淲ell, if this Manny wants to run things, why doesn't he run for governor?鈥�

So, I did this cartoon of Manny driving, Gary in a child seat next to him, with Manny saying: 鈥淲hat? Run for governor and give up power?鈥�

What is an aspect of your work of which you are particularly proud?

A lot of cartoonists just cartoon off the headlines. Occasionally I've done that, I admit. But I try to understand the issue and read enough in the background so that I can make an intelligent comment on it 鈥� not one that everybody agrees with, I'm sure.

What are your thoughts about working for the same newspaper, the 近距离内射合集, for 50 years?

The Lang family has been extremely supportive of me. And I'm grateful that they're a family business. So many of my friends in this business have lost their jobs. 

I also appreciate the Journal for being informative, open-minded, community spirited and persevering. And, on a personal note, the Journal has been my mentor and supporter for 50 years. 

Karen Moses is a former Journal editor. She can be reached at  kmoses@abqjournal.com.

Coming Aug. 16: A road, a bear and a fruit 鈥� three New Mexico treasures.