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_THE NEW YORKER_ is an American magazine of reportage, commentary, criticism, essays, fiction, satire, cartoons, and poetry. It is published by Condé Nast . Started as a weekly in 1925, the magazine is now published 47 times annually, with five of these issues covering two-week spans.

Although its reviews and events listings often focus on the cultural life of New York City , _The New Yorker_ has a wide audience outside of New York and is read internationally. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric Americana , its attention to modern fiction by the inclusion of short stories and literary reviews , its rigorous fact checking and copyediting , its journalism on politics and social issues , and its single-panel cartoons sprinkled throughout each issue.

CONTENTS

* 1 History * 2 Cartoons * 3 Films * 4 Style * 5 Readership * 6 Eustace Tilley

* 7 Covers

* 7.1 "View of the World" cover * 7.2 9/11 * 7.3 "New Yorkistan" * 7.4 Politics provides endless opportunities

* 7.5 Controversial covers

* 7.5.1 Crown Heights in 1993 * 7.5.2 2008 Obama cover satire and controversy * 7.5.3 2013 Bert and Ernie cover

* 8 Books * 9 Movies * 10 See also * 11 References * 12 External links

HISTORY

_The New Yorker_ debuted on February 21, 1925. It was founded by Harold Ross and his wife, Jane Grant , a _New York Times _ reporter. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as _Judge _, where he had worked, or _Life _. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company ) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan . Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross famously declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque ."

Although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction literature and journalism. Shortly after the end of World War II , John Hersey 's essay _Hiroshima _ filled an entire issue. In subsequent decades the magazine published short stories by many of the most respected writers of the 20th and 21st centuries, including Ann Beattie , Truman Capote , John Cheever , Roald Dahl , Mavis Gallant , Geoffrey Hellman , John McNulty , Joseph Mitchell , Alice Munro , Haruki Murakami , Vladimir Nabokov , John O\'Hara , Dorothy Parker , Philip Roth , J. D. Salinger , Irwin Shaw , James Thurber , John Updike , Eudora Welty , Stephen King , and E. B. White . Publication of Shirley Jackson 's " The Lottery " drew more mail than any other story in the magazine's history.

In its early decades, the magazine sometimes published two or even three short stories a week, but in recent years the pace has remained steady at one story per issue. While some styles and themes recur more often than others in its fiction, the stories are marked less by uniformity than by variety, and they have ranged from Updike's introspective domestic narratives to the surrealism of Donald Barthelme , and from parochial accounts of the lives of neurotic New Yorkers to stories set in a wide range of locations and eras and translated from many languages. Kurt Vonnegut said that _The New Yorker_ has been an effective instrument for getting a large audience to appreciate modern literature. Vonnegut's 1974 interview with Joe David Bellamy and John Casey contained a discussion of _The New Yorker_'s influence:

he limiting factor is the reader. No other art requires the audience to be a performer. You have to count on the reader's being a good performer, and you may write music which he absolutely can't perform – in which case it's a bust. Those writers you mentioned and myself are teaching an audience how to play this kind of music in their heads. It's a learning process, and _The New Yorker_ has been a very good institution of the sort needed. They have a captive audience, and they come out every week, and people finally catch on to Barthelme, for instance, and are able to perform that sort of thing in their heads and enjoy it.

The non-fiction feature articles (which usually make up the bulk of the magazine's content) cover an eclectic array of topics. Recent subjects have included eccentric evangelist Creflo Dollar , the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy .

The magazine is notable for its editorial traditions. Under the rubric _Profiles_, it publishes articles about notable people such as Ernest Hemingway , Henry R. Luce and Marlon Brando , Hollywood restaurateur Michael Romanoff , magician Ricky Jay and mathematicians David and Gregory Chudnovsky . Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a miscellany of brief pieces—frequently humorous, whimsical or eccentric vignettes of life in New York—written in a breezily light style, or feuilleton , although in recent years the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. And despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications , the media company owned by Samuel Irving Newhouse Jr , in 1985, for $200 million when it was earning less than $6 million a year.

Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald , Kenneth Tynan , and Hannah Arendt ; to a certain extent all three authors were controversial, Arendt the most obviously so (her _Eichmann in Jerusalem_ reportage appeared in the magazine before it was published as a book), but in each case Shawn proved an active champion.

Brown's nearly six-year tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure) and the changes which she made to a magazine that had retained a similar look and feel for the previous half-century. She introduced color to the editorial pages (several years before _ The New York Times _) and photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and hot topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A new letters-to-the-editor page and the addition of authors' bylines to their " Talk of the Town" pieces had the effect of making the magazine more personal. The current editor of _The New Yorker_ is David Remnick , who succeeded Brown in July 1998.

Tom Wolfe wrote about the magazine: "The _New Yorker_ style was one of leisurely meandering understatement, droll when in the humorous mode, tautological and litotical when in the serious mode, constantly amplified, qualified, adumbrated upon, nuanced and renuanced, until the magazine's pale-gray pages became High Baroque triumphs of the relative clause and appository modifier".

Joseph Rosenblum, reviewing Ben Yagoda 's _About Town_, a history of the magazine from 1925 to 1985, wrote, "... _The New Yorker_ did create its own universe. As one longtime reader wrote to Yagoda, this was a place 'where Peter DeVries ... was forever lifting a glass of Piesporter , where Niccolò Tucci (in a plum velvet dinner jacket ) flirted in Italian with Muriel Spark , where Nabokov sipped tawny port from a prismatic goblet (while a Red Admirable perched on his pinky), and where John Updike tripped over the master's Swiss shoes, excusing himself charmingly".

As far back as the 1940s the magazine's commitment to fact-checking was already well known. Yet the magazine played a role in a literary scandal and defamation lawsuit over two 1990s articles by Janet Malcolm , who wrote about Sigmund Freud 's legacy. Questions were raised about the magazine's fact-checking process. As of 2010, _The New Yorker_ employs 16 fact checkers. In July 2011, the magazine was sued for defamation in United States district court for a July 12, 2010 article written by David Grann, but the case was summarily dismissed.

Since the late 1990s, _The New Yorker_ has used the Internet to publish current and archived material. It maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online, as well as a complete archive of back issues viewable as they were originally printed. In addition, _The New Yorker'_s cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) has also been issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue of the magazine has been released.

In its November 1, 2004 issue, the magazine for the first time endorsed a presidential candidate, choosing to endorse Democrat John Kerry over incumbent Republican George W. Bush . This was continued in 2008 when the magazine endorsed Barack Obama over John McCain , in 2012 when it endorsed Obama over Mitt Romney , and in 2016 when it endorsed Hillary Clinton over Donald Trump .

CARTOONS

_The New Yorker_ has featured cartoons (usually gag cartoons ) since it began publication in 1925. The cartoon editor of _The New Yorker_ for years was Lee Lorenz , who first began cartooning in 1956 and became a _New Yorker_ contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by Françoise Mouly ), he continued in the position of cartoon editor until 1998. His book _The Art of the New Yorker: 1925–1995_ (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of _New Yorker_ cartoons. In addition, Mankoff usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. Mankoff retired from the magazine in 2017.

_The New Yorker'_s stable of cartoonists has included many important talents in American humor, including Charles Addams , Peter Arno , Charles Barsotti , George Booth , Roz Chast , Tom Cheney , Sam Cobean , Leo Cullum , Richard Decker , J. B. Handelsman , Helen E. Hokinson , Ed Koren , Reginald Marsh , Mary Petty , George Price , Charles Saxon , David Snell , Otto Soglow , Saul Steinberg , William Steig , James Stevenson , Richard Taylor, James Thurber , Pete Holmes , Barney Tobey, and Gahan Wilson .

Many early _New Yorker_ cartoonists did not caption their own cartoons. In his book _The Years with Ross_, Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week would be brought up from the mail room to be gone over by Ross, the editorial department, and a number of staff writers. Cartoons often would be rejected or sent back to artists with requested amendments, while others would be accepted and captions written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. ( Brendan Gill relates in his book _Here at The New Yorker_ that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teen-aged Truman Capote ) had been acting as a volunteer art editor, dropping pieces he didn't like down the far edge of his desk.)

Several of the magazine's cartoons have climbed to a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, " I say it's spinach and I say the hell with it." The phrase "I say it\'s spinach " entered the vernacular (and three years later, the Broadway musical _Face the Music_ included Irving Berlin 's musical number entitled "I Say It\'s Spinach (And The Hell With It) "). The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board."

The most reprinted is Peter Steiner 's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you\'re a dog ". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner.

Over seven decades, many hardcover compilations of cartoons from _The New Yorker_ have been published, and in 2004, Mankoff edited _The Complete Cartoons of The New Yorker_, a 656-page collection with 2004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by a cartoonist's name or by year of publication. The newer group of cartoonists in recent years includes Pat Byrnes , Frank Cotham, Michael Crawford, Joe Dator, Drew Dernavich, J. C. Duffy , Carolita Johnson, Zachary Kanin, Farley Katz, Robert Leighton , Glen Le Lievre, Michael Maslin, Ariel Molvig, Paul Noth, Barbara Smaller, David Sipress, Mick Stevens, Julia Suits , Christopher Weyant, P. C. Vey , and Jack Ziegler. The notion that some _New Yorker_ cartoons have punchlines so _non sequitur _ that they are impossible to understand became a subplot in the _ Seinfeld _ episode "The Cartoon ", as well as a playful jab in an episode of _ The Simpsons _, "The Sweetest Apu ".

In April 2005, the magazine began using the last page of each issue for " The New Yorker Cartoon Caption Contest ". Captionless cartoons by _The New Yorker'_s regular cartoonists are printed each week. Captions are submitted by readers, and three are chosen as finalists. Readers then vote on the winner, and any resident of the US, UK, Australia, Ireland, or Canada (except Quebec ) age 18 or older may vote. Each contest winner receives a print of the cartoon (with the winning caption), signed by the artist who drew the cartoon.

FILMS

_The New Yorker_ has been the source of a number of movies. Both fiction and non-fiction pieces have been adapted for the big screen, including: _Flash of Genius _ (2008), based on a true account of the invention of the intermittent windshield wiper by John Seabrook ; _ Away From Her _, adapted from Alice Munro's short story "The Bear Came Over The Mountain", which debuted at the 2007 Sundance Film Festival ; _The Namesake _ (2007), similarly based on Jhumpa Lahiri 's novel which originated as a short story in the magazine; _The Bridge _ (2006), based on Tad Friend 's 2003 non-fiction piece "Jumpers"; _ Brokeback Mountain _ (2005), an adaptation of the short story by Annie Proulx which first appeared in the October 13, 1997, issue of _The New Yorker;_ Jonathan Safran Foer 's 2001 debut in _The New Yorker_, which later came to theaters in Liev Schreiber's debut as both screenwriter and director, _Everything is Illuminated _ (2005); Michael Cunningham 's _The Hours _, which appeared in the pages of _The New Yorker_ before becoming the film that garnered the 2002 Best Actress Academy Award for Nicole Kidman ; _Adaptation _ (2002), which Charlie Kaufman based on Susan Orlean 's _The Orchid Thief_, written for _The New Yorker;_ Frank McCourt's _Angela\'s Ashes _, which also appeared, in part, in _The New Yorker_ in 1996 before its film adaptation was released in 1999; _ The Addams Family _ (1991) and its sequel, _ Addams Family Values _ (1993), both inspired by the work of famed _New Yorker_ cartoonist Charles Addams ; Brian De Palma 's _ Casualties of War _ (1989), which began as a _New Yorker_ article by Daniel Lang; _Boys Don\'t Cry _ (1999), starring Hilary Swank, began as an article in the magazine, and _Iris _ (2001), about the life of Iris Murdoch and John Bayley, the article written by John Bayley for the New Yorker, before he completed his full memoir, the film starring Judi Dench and Jim Broadbent; _The Swimmer _ (1968), starring Burt Lancaster , based on a John Cheever short story from _The New Yorker;_ _ In Cold Blood _ (1967), the widely nominated adaptation of the 1965 non-fiction serial written for _The New Yorker_ by Truman Capote ; _Pal Joey _ (1957), based on a series of stories by John O'Hara; _ Mister 880 _ (1950), starring Edmund Gwenn , based on a story by longtime editor St. Clair McKelway ; _The Secret Life of Walter Mitty _ (1947) which began as a story by longtime _New Yorker_ contributor James Thurber; and _Meet Me in St. Louis _ (1944), adapted from Sally Benson 's short stories.

The history of _The New Yorker_ has also been portrayed in film: In _ Mrs. Parker and the Vicious Circle _, a film about the celebrated Algonquin Round Table starring Jennifer Jason Leigh as Dorothy Parker , Sam Robards portrays founding editor Harold Ross trying to drum up support for his fledgling publication. The magazine's former editor, William Shawn , is portrayed in _Capote _ (2005), _Infamous _ (2006) and _ Hannah Arendt _ (2012).

The 2015 documentary, _Very Semi-Serious,_ produced by Redora Films, presents a behind-the-scenes look at the cartoons of _The New Yorker_.

STYLE

_The New Yorker'_s signature display typeface, used for its nameplate and headlines and the masthead above _The Talk of the Town_ section, is Irvin, named after its creator, the designer-illustrator Rea Irvin . The body text of all articles in _The New Yorker_ is set in Adobe Caslon .

One uncommonly formal feature of the magazine's in-house style is the placement of diaeresis marks in words with repeating vowels —such as _reëlected_, _preëminent_, and _coöperate_—in which the two vowel letters indicate separate vowel sounds. The magazine also continues to use a few spellings that are otherwise little used, such as _focussed_, _venders_, _teen-ager_, _traveller_, _marvellous_, _carrousel_, and _cannister_.

The magazine also spells out the names of numerical amounts, such as "two million three hundred thousand dollars" instead of "$2.3 million", even for very large figures.

READERSHIP

Notwithstanding its title, _The New Yorker_ is read nationwide, with 53 percent of its circulation in the top ten U.S. metropolitan areas. According to Mediamark Research Inc., the average age of _The New Yorker_ reader in 2009 was 47 (compared to 43 in 1980 and 46 in 1990). The average household income of _The New Yorker_ readers in 2009 was $109,877 (the average income in 1980 was $62,788 and the average income in 1990 was $70,233).

EUSTACE TILLEY

Image of Count d\'Orsay , published by James Fraser .

The magazine's first cover illustration, a dandy peering at a butterfly through a monocle , was drawn by Rea Irvin , the magazine's first art editor, based on an 1834 caricature of the then Count d\'Orsay which appeared as an illustration in the 11th edition of the _ Encyclopædia Britannica _. The gentleman on the original cover, now referred to as "Eustace Tilley", is a character created by Corey Ford for _The New Yorker_. The hero of a series entitled "The Making of a Magazine", which began on the inside front cover of the August 8 issue that first summer, Tilley was a younger man than the figure on the original cover. His top hat was of a newer style, without the curved brim. He wore a morning coat and striped trousers. Ford borrowed Eustace Tilley's last name from an aunt—he had always found it vaguely humorous. "Eustace" was selected by Ford for euphony .

The character has become a kind of mascot for _The New Yorker_, frequently appearing in its pages and on promotional materials. Traditionally, Rea Irvin's original Tilley cover illustration is used every year on the issue closest to the anniversary date of February 21, though on several occasions a newly drawn variation has been substituted.

COVERS

The magazine is well known for its illustrated and often topical covers.

"VIEW OF THE WORLD" COVER

Main article: View of the World from 9th Avenue Saul Steinberg 's "View of the World from Ninth Avenue" cover

Saul Steinberg created 85 covers and 642 internal drawings and illustrations for the magazine. His most famous work is probably its March 29, 1976 cover, an illustration most often referred to as "View of the World from 9th Avenue ", sometimes referred to as "A Parochial New Yorker's View of the World" or "A New Yorker's View of the World", which depicts a map of the world as seen by self-absorbed New Yorkers.

The illustration is split in two, with the bottom half of the image showing Manhattan 's 9th Avenue, 10th Avenue , and the Hudson River (appropriately labeled), and the top half depicting the rest of the world. The rest of the United States is the size of the three New York City blocks and is drawn as a square, with a thin brown strip along the Hudson representing "Jersey" , the names of five cities (Los Angeles ; Washington, D.C. ; Las Vegas ; Kansas City ; and Chicago ) and three states ( Texas , Utah , and Nebraska ) scattered among a few rocks for the United States beyond New Jersey. The Pacific Ocean, perhaps half again as wide as the Hudson, separates the United States from three flattened land masses labeled China, Japan and Russia.

The illustration—humorously depicting New Yorkers' self-image of their place in the world, or perhaps outsiders' view of New Yorkers' self-image—inspired many similar works, including the poster for the 1984 film _ Moscow on the Hudson _; that movie poster led to a lawsuit, _ Steinberg v. Columbia Pictures Industries, Inc. _, 663 F. Supp. 706 (S.D.N.Y. 1987), which held that Columbia Pictures violated the copyright that Steinberg held on his work.

The cover was later satirized by Barry Blitt for the cover of _The New Yorker_ on October 6, 2008. The cover featured Sarah Palin looking out of her window seeing only Alaska, with Russia in the far background.

The March 21, 2009 cover of _ The Economist _, "How China sees the World", is also an homage to the original image, but depicting the viewpoint from Beijing's Chang\'an Avenue instead of Manhattan.

9/11

Hired by Tina Brown in 1992, Art Spiegelman worked for _The New Yorker_ for ten years but resigned a few months after the September 11 terrorist attacks . The cover created by Françoise Mouly and Spiegelman for the September 24, 2001 issue of _The New Yorker_ received wide acclaim and was voted in the top ten of magazine covers of the past 40 years by the American Society of Magazine Editors, which commented:

_New Yorker_ Covers Editor Françoise Mouly repositioned Art Spiegelman's silhouettes, inspired by Ad Reinhardt 's black-on-black paintings, so that the North Tower's antenna breaks the "W" of the magazine's logo. Spiegelman wanted to see the emptiness, and find the awful/awe-filled image of all that disappeared on 9/11. The silhouetted Twin Towers were printed in a fifth, black ink, on a field of black made up of the standard four color printing inks. An overprinted clear varnish helps create the ghost images that linger, insisting on their presence through the blackness.

At first glance, the cover appears to be totally black, but upon close examination it reveals the silhouettes of the World Trade Center towers in a slightly darker shade of black. In some situations, the ghost images only become visible when the magazine is tilted toward a light source. In September 2004, Spiegelman reprised the image on the cover of his book _ In the Shadow of No Towers _, in which he relates his experience of the Twin Towers attack and the psychological after-effects.

"NEW YORKISTAN"

Main article: New Yorkistan

In the December 2001 issue the magazine printed a cover by Maira Kalman and Rick Meyerowitz showing a map of New York in which various neighborhoods were labeled with humorous names reminiscent of Middle Eastern and Central Asian place names and referencing the neighborhood's real name or characteristics (e.g., "Fuhgeddabouditstan", "Botoxia"). The cover had some cultural resonance in the wake of September 11, and became a popular print and poster.

POLITICS PROVIDES ENDLESS OPPORTUNITIES

The magazine is well known for keeping up with every nuance of politics, from the local politics of Manhattan to that of the state, nation, and the world. Current issues always are presented on the cover for New Yorker readers in a fashion that reflects the them, even if not tied directly to an article within. The illustration may range from informative or nostalgic to plain humor or biting lampooning to pointed commentary.

A recent example is the April 10, 2017 cover, _Broken Windows_ by Barry Blitt that depicts the wounds being inflicted on the White House by the actions of none other than the president depicted lobbing one golf drive after another on its lawn.

CONTROVERSIAL COVERS

Crown Heights In 1993

For the 1993 Valentine\'s Day issue, the magazine cover by Art Spiegelman depicted a black woman and a Hasidic Jewish man kissing, referencing the Crown Heights riot of 1991. The cover was criticized by both black and Jewish observers. Jack Salzman and Cornel West describe the reaction to the cover as the magazine's "first national controversy".

2008 Obama Cover Satire And Controversy

_ Barry Blitt's cover from the July 21, 2008 issue of The New Yorker_

_ Wikinews has related news: NEW YORKER\\'S OBAMA COVER SPARKS OUTRAGE _

"The Politics of Fear", a cartoon by Barry Blitt featured on the cover of the July 21, 2008 issue, depicts then presumptive Democratic presidential nominee Barack Obama in the turban and salwar kameez typical of many Muslims , fist bumping with his wife, Michelle , portrayed with an Afro and wearing camouflage trousers with an assault rifle slung over her back. They are standing in the Oval Office , with a portrait of Osama Bin Laden hanging on the wall and an American flag burning in the fireplace in the background.

Many _New Yorker_ readers saw the image as a lampoon of "The Politics of Fear", as was its title. Some of Obama's supporters as well as his presumptive Republican opponent, Sen. John McCain , accused the magazine of publishing an incendiary cartoon whose irony could be lost on some readers. However, editor David Remnick felt the image's obvious excesses rebuffed the concern that it could be misunderstood, even by those unfamiliar with the magazine. "The intent of the cover," he said, "is to satirize the vicious and racist attacks and rumors and misconceptions about the Obamas that have been floating around in the blogosphere and are reflected in public opinion polls. What we set out to do was to throw all these images together, which are all over the top and to shine a kind of harsh light on them, to satirize them."

In an interview on _ Larry King Live _ shortly after the magazine issue began circulating, Obama said, "Well, I know it was _The New Yorker'_s attempt at satire... I don't think they were entirely successful with it". But Obama also pointed to his own efforts to debunk the allegations portrayed in _The New Yorker_ cover through a web site his campaign set up: " actually an insult against Muslim-Americans, something that we don't spend a lot of time talking about."

Later that week, _ The Daily Show '_s Jon Stewart continued _The New Yorker_ cover's argument about Obama stereotypes with a piece showcasing a montage of clips containing such stereotypes culled from various legitimate news sources. The _New Yorker_ Obama cover was later parodied by Stewart and Stephen Colbert on the October 3, 2008, cover of _ Entertainment Weekly _ magazine, with Stewart as Obama and Colbert as Michelle, photographed for the magazine in New York City on September 18.

_New Yorker_ covers are not always related to the contents of the magazine or are only tangentially so. In this case, the article in the July 21, 2008, issue about Obama did not discuss the attacks and rumors but rather Obama's political career. The magazine later endorsed Obama for president.

This parody was most likely inspired by Fox News host E. D. Hill 's paraphrasing of an anonymous internet comment in asking whether a gesture made by Obama and his wife Michelle was a "terrorist fist jab". Later, Hill's contract was not renewed.

2013 Bert And Ernie Cover

The New Yorker chose an image of Bert and Ernie by artist Jack Hunter, entitled 'Moment of Joy', as the cover of their July 8, 2013 publication, which covers the Supreme Court decisions on the Defense of Marriage Act and California Proposition 8 . The _ Sesame Street _ characters have long been rumored in popular culture and urban legend to be homosexual partners, though Sesame Workshop has repeatedly denied this, saying they are merely "puppets" and have no sexual orientation. Reaction was mixed. Online magazine Slate criticized the cover, which shows Ernie leaning on Bert's shoulder as they watch a television with the Supreme Court justices on the screen, saying "it's a terrible way to commemorate a major civil-rights victory for gay and lesbian couples." _ The Huffington Post _, meanwhile, said it was "one of most awesome covers of all time."

BOOKS

* _Ross and the New Yorker_ by Dale Kramer (1951) * _The Years with Ross_ by James Thurber (1959) * _Ross, the New Yorker and Me_ by Jane Grant (1968) * _ Here at The New Yorker _ by Brendan Gill (1975) * _About the New Yorker and Me_ by E.J. Kahn (1979) * _Onward and Upward: A Biography of Katharine S. White_ by Linda H. Davis (1987) * _At Seventy: More about the New Yorker and Me_ by E.J. Kahn (1988) * _Katharine and E.B. White: An Affectionate Memoir_ by Isabel Russell (1988) * _The Last Days of The New Yorker_ by Gigi Mahon (1989) * _Genius in Disguise: Harold Ross of the New Yorker_ by Thomas Kunkel (1997) * _Here But Not Here: My Life with William Shawn and the New Yorker_ by Lillian Ross (1998) * _Remembering Mr. Shawn's New Yorker: The Invisible Art of Editing_ by Ved Mehta (1998) * _Some Times in America: and a life in a year at the New Yorker_ by Alexander Chancellor (1999) * _The World Through a Monocle: The New Yorker at Midcentury_ by Mary F. Corey (1999) * _About Town: The New Yorker and the World It Made_ by Ben Yagoda (2000) * _Covering the New Yorker: Cutting-Edge Covers from a Literary Institution_ by Françoise Mouly (2000) * _Defining New Yorker Humor_ by Judith Yaross Lee (2000) * _Gone: The Last Days of the New Yorker_, by Renata Adler (2000) * _Letters from the Editor: The New Yorker's Harold Ross_ edited by Thomas Kunkel (2000; letters covering the years 1917 to 1951) * _New Yorker Profiles 1925–1992: A Bibliography_ compiled by Gail Shivel (2000) * _NoBrow: The Culture of Marketing – the Marketing of Culture_ by John Seabrook (2000) * _Fierce Pajamas: An Anthology of Humor Writing from The New Yorker_ by David Reminick and Henry Finder (2002) * _Christmas at The New Yorker: Stories, Poems, Humor, and Art_ (2003) * _A Life of Privilege, Mostly_ by Gardner Botsford (2003) * _Maeve Brennan: Homesick at the New Yorker_ by Angela Bourke (2004) * _Let Me Finish_ by Roger Angell (Harcourt, 2006) * _The Receptionist: An Education at the New Yorker_ by Janet Groth (2012) * _Between You -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;">

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