The New Yorker Cartoons go Blackface

It's a form of diversity.

Let's have more cartoon figures "of color" in the magazine. Just tint the sullen faces.

You may have noticed, if you go sit in an affluent dentist's waiting room a lot, that cartoons in The New Yorker now feature a lot more Buppies. That's "Black Urban Professionals," a term that was invented around the time Arthur Ashe was playing tennis. It also became obsolete after he retired. But what would The New Yorker know about things going obsolete, when they still insist on publishing?

The New Yorker's attempting to lose their image as the place where elderly effete people check classical concert listings and mail order places that sell pipes and tweed hats. For a while, they had Woody Allen imitating S.J. Perelman, which brought a slight amount of new blood to their readership.

Since the legendary New Yorker cartoonists are all dead (Chas Addams, Wm Steig, Peter Arno, etc.) why not be adventurous and...offer DIVERSITY?

Even at the risk of being called pandering racists. Remember that white woman who "identified" as black and lost her job? It's JUST POSSIBLE, that cartoonists named STEINBERG and SCHWARTZ might find themselves in big trouble for doing BLACKFACE. "Hey, you are Jewish, why are you blacking up your cartoon characters??"

Like so:

Insidious racist bastards, these white cartoonists using blackface!

They are painfully and obviously blacking up white cartoon characters and it comes off as limp and pretentious pandering.

In the 1960's, when Playboy hired a black cartoonist, Buck Brown, they allowed him to draw some racial cartoons and be himself, not copy what Dempsey, Wilson or Kliban did. There's something creepy about The New Yorker's white cartoonists blacking up images that, a year ago, they would've drawn as white. What next, insert "Y'all" in the opening sentence of the caption?

By way of honesty, The New Yorker should only allow black cartoonists to draw black characters. This will shield them against the abomination of being mentioned in the same breath as Rachel Dolezal, a vile, offensive pretender. Ya know, one who ain't "the real deal." And it is what it is, y'all.

The fact remains that "diversity" painfully eludes the New Yorker cartoon world. Diversity? When maybe ONE cartoon in THIRTY is laugh out loud funny?

Funny New Yorker cartoons remain a very, very small minority group.