gilded+age+political+cartoons

AMB-



This political cartoon depicts the the American populace giving up everything to the robber barons. The robber barons' "trust" sashes and the "war, tariff, & monopoly" flag represent what makes these men robbers--they work together through these means in order to strip the public of their wealth. The sword labeled "legislation" suggests that they use the government to attack the American people for their money. The group of people who are being forced to hand over their money is very diverse, implying that the problem was universal to all but the robber barons, from the reasonably well-off down to the poorest farmer. The robber barons, on the other hand, all look alike--fat, well-dressed, and commanding--and this small, elite group has control over the entire remainder of the population. The smaller cartoon in the corner relates the robber barons of the gilded age to those from Medieval times. The factory in the background corresponds to the castle of the Medieval barons (like the flag and sashes, suggesting that they are working together to protect their own interests--industry), and the Gilded Age robber barons are even dressed in similar attire to those of the Middle Ages. does not reflect APPARTS



AJN- This cartoon was depicted by Joseph Keppler for a newspaper. This was done during the Grant presidency and depicts Grant as the Golden calf, with the Republicans depicted as the Israelites worshipping him. Grant was viewed by many southern democrats by means of heroic standing. With his servitude in the War of southern secession he was to the Democrats as Lincoln was to the Republicans. It is evident that the reason Grant was depicted as the golden calf was because he had little political reputation prior to becoming president. He was actually one of the least known men to become president and many believed he was a puppet president. Since religion is not widely defended by substantial evidence and many believe that Grant had not much to substantiate his presidential campaign. Nevertheless, he won and this cartoon shows the subsequent consequences of this. The gullible Israelites, blindly following their master as the Republicans, and even the Ten Commandments are present reading “thou shall not seek a third term” in respect to Grant and his under qualified credentials. Clearly this was to insult Grant as a president and the Republicans for blindly following him.

does not reflect APPARTS

RIL: Frederick Burr Opper was a cartoonist who worked for //Puck Magazine// for 18 years. His cartoons usually demonstrated his negative views on trusts and industrialists and this political cartoon is no exception. In this cartoon, he depicted William Henry Vanderbilt, a successful American businessman who was in charge of New York Central and Hudson River Railroad; Jason “Jay” Gould, who was a leading railroad developer; Cyrus West Field, who led the Atlantic Telegraph Company; and Russell Sage, who held stock in the railroad industry and also was president of the Chicago, Milwaukee and St. Paul Railway. All these successful men were affiliated with the railroad industry and this political cartoon depicts them as dividing up the country which portrays them in a negative way as it implies their immense power over the industry. This political cartoon was produced in 1885 and at this time these men had immense power in the railroad industry. It was the portrayal of their power as they are shown dividing up the entire country. They are shown negatively and for this reason, those who resent them would react positively to the cartoon and the men themselves would react negatively. Those in the railroad industry would have been interested in this cartoon whether they were part of the large companies depicted or small railroad companies who were getting pushed out of the economy; it would appeal to those small railroad companies. This cartoon’s audience was mainly those owners of local and small railroad companies and for this reason, the cartoon was drawn to address their concerns and to appeal to them which is why it is their viewpoint which is shown by illustrating the owners of the big businesses disapprovingly. This material was produced in response to the big companies who were monopolizing the railroad industry to show that what they were doing was wrong since Frederick Burr Opper portrayed them negatively.

MDS Based on political cartoon “The Standard Oil Octopus” and article “The Spoilsmen: An Age of Cynicism” from __The American Political Tradition__.



The cartoon “The Standard Oil Octopus”, and other similar ones that were seen with the rise of Rockefeller’s Standard Oil Trust, accurately represents the differing viewpoints of the wealthy “captains of industry” and those of average working class Americans during the Second Industrial Revolution. This new class of wealthy industrialists truly believed in the all-American image of opportunity for the common man and social Darwinism, that is, survival of the fittest. The only reason that they could fully clear their moral conscience for taking advantage of workers and consumers to make profit was by convincing themselves that they had the ultimate right to engage in such practices.

Clearly, Americans who were not lucky enough to part of such an elite class were severely dissatisfied by the industrialists’ use of their corporate power. The octopus’ head is representative of the central trust of the Standard Oil Company, composed of a board of trustees headed by Rockefeller. The tentacles represent the way that the trust controlled every aspect of every branch of the Standard Oil Company, across the entire nation. Cartoons such as these led to the widespread distrust of industrialist methods, as the tentacles surrounding the governmental buildings indicate Rockefeller’s use of bribery to influence Congressmen and other officials to prevent the passing of anti-trust and anti-monopoly laws. Once such cartoonists revealed to Americans this ultimate corruption in the governmental system, the ruthlessness of industrialists such as Rockefeller became painfully clear and they became an enemy of the public, constantly portrayed in a negative light, causing Americans to have mistrust in corporate systems as a whole. Regardless of how Rockefeller justified and rationalized his methods, his reasoning would not be heard by American workers and consumers, who saw only the unjust consequences of his trusts.

information presented is thoorough and well written but does not entirely reflect APPARTS

JT In the late 1800’s, many farmers in the West formed the Populist Party which supported the free silver position, the right of individuals to propose laws, and decreasing the gap between the rich and the poor, as depicted in this political cartoon. A time line is presented, disguised as scales which grow increasingly large and unbalanced as the years go on. Each scale holds a portion of the population, the left being the wealthy and the right being the less fortunate. There is clearly an exponential growth in the amount of “tramps” in America, and only a few wealthy by the bottom of the list, emphasizing the great difference between the two groups and how unequal their numbers were. At this point in time, corporations were coming into power and dominating trade through vertical and horizontal integration, leaving only a few men extremely wealthy, and everyone else struggling to keep up. The cartoonist’s purpose was to emphasize the ever increasing gap between the wealthy and the poor in hopes of influencing politicians, his audience, to pay attention and possibly regulate corporation’s dominance over trade.



please post cartoon above - not below does not reflect APPARTS AVG



This cartoon criticizes William Jennings Bryan as a demagogue who overemphasizes the will of the people. The device Bryan holds resembles the smoke machine used by beekeepers, suggesting that Bryan is poisoning the minds of his supporters. The phrase “16 to 1” was the slogan for free silver, implying that free silver, like the beekeepers’ smoke, overpowers and clouds the minds of all who are exposed to it. The phrases from the smoke machine, particularly the last one (“The popular intuition is better than reasoning and what the people say goes”) ridicule Brian’s excessive trust in the people, depicted here as uneducated and unkempt farmers. Brian’s facial expression and suit with bowtie distance him from the crowd and suggest that, like the beekeeper who takes honey from the bees, Brian is exploiting the people for personal gain and wants the presidency for himself rather than the people. The newspaper writers crowded around Bryan on the train satirize the “excessive” attention given to this rabble-rouser.

In “William Jennings Bryan: The Democrat as Revivalist,” Richard Hofstadter agrees that Bryan valued popular desires more than logic and reason. Throughout his political career, Bryan used popular issues, such as free silver and later anti-imperialism and government ownership of railroads, in attempts to catapult himself to the presidency. However, he sincerely viewed all political issues in terms of morality and therefore believed the ordinary people of America had sounder political proposals than corrupt businessmen. Bryan therefore used his skills at oratory not to manipulate the people (as the cartoonist suggests) but to aid them by giving their opinions national recognition; his attempts to gain office reflect his desire not to control the people but to effect change on their behalf.

does not reflect APPARTS

MRL

 MRL - This political cartoon, titled Hopelessly Bound to the Stake, created by Bernard Gillam and published in Puck magazine in August of 1883, depicts a working class man being burned at the stake by fire projected from the mouths of several men. Perhaps one of the more noteable flame-projecting characters is Chauncey M. Depew, an extremely influential and powerful man involved in the maintaining of Cornelius Vanderbilt's monopoly of the railroad industry. This cartoon was created to illustrate the the suffering of the working class as well as their inability to escape the overwhelming control of monopolies. By 1883, the railroad monopoly, among others, was well established thus Americans were becoming increasingly aware of the negative impacts of monopolies on the lives of working men. Monopolies fueled the "fire" that harmed the working class due to the fact that monopolies inherently eliminated the possibility of the survival of certain small businesses. Monopolies also negatively affected the working class by placing the ability to control the living conditions and welfare of perhaps hundreds of thousands of people in the hands of a small elite group who, in somer cases, were more concerned with personal profit than employee well-being.

information presented is good but overall does not reflect all aspects of APPARTS



ADB – This cartoon, entitled “What a Funny Little Government”, was made by Horace Taylor for the September 25, 1899 issue of //The Verdict//. John D. Rockefeller, shown in the cartoon, was the famous oil magnate who created a powerful monopoly on the US oil industry in less than 20 years. By 1899, the Standard Oil Trust had already been formed, which allowed Rockefeller to control his monopoly completely with this, so to speak, “corporation of corporations”: the heads of each oil refinery corporation within the country, including Rockefeller himself, formed the Board of Trustees, which set equal prices, as well as production levels, for each “branch” of the board.

<span style="font-family: 'Times New Roman','serif'; margin: 0in 0in 10pt;">In this illustration, Rockefeller is examining the White House and Treasury in his hand; in the background, the State Capitol building is portrayed as a giant oil refinery. The cartoon’s main motif is that big business (specifically big oil) had become extremely prevalent in late 19th century America, and it had grown so large that the government was unable to control it. Rockefeller is portrayed as a man that has become so powerful that he has dwarfed the power of the federal government. Though he had retired from the Board in 1897, he was still an important stockholder, and the cartoon Rockefeller is probably the representation of his legacy, coupled with the fact that, in 1899, the Standard Oil Trust was reconfigured as a holding company, Standard Oil Company of New Jersey, in response to New Jersey changing its incorporation legislation to allow companies to hold stock from other states. Rockefellers’ oil is seen as extremely pervasive in the illustration, which was the general sentiment in 1899 when the Trust became a company. This sentiment is bolstered by the Capital Building represented as an oil refinery, which is meant to represent the power that big oil had created over the federal government. The dark color choices in the cartoon give the situation an air of darkness and negativity; the smoke coming from the “refinery’s” smokestacks almost looks like smoke from a fire, which could be a representation that big business was destroying America.

<span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif; margin: 0in 0in 10pt;">very nicely done

<span style="font-family: 'Times New Roman','serif'; margin: 0in 0in 10pt;">

EMB— This political cartoon was published in //Puck// magazine on November 1, 1888. The irony here is that the cartoon criticizes the daily press of the time while it was published in a magazine. The very medium through which readers saw this cartoon was the same as which the cartoon openly insults. Also worth noting is that there is no “evil spirit” representing political cartoons, thus suggesting that though most of what the crazed monster known as the printing press spews out is evil, political cartoons maintain their sense of meaningful worth and decency.

The cartoon depicts a negative opinion of the printing press during the late nineteenth century. The cartoonist drew a horde of “evil spirits” running amuck from the monster printing machine in the background, complete with fangs and a snake-like tongue. These sad little creatures are labeled with various aspects of the subjects filling the newspapers of the time period. The labels coincide with the individual demeanors and appearances of each devilish spirit.

To examine a few of the spirits that particularly stick out, it is to be noted that Scandal is female and is the only noticeable female creature in the cartoon. This suggests that scandals commonly reported in the news during the Gilded Age concerned females, and judging by her accusatory pointed finger, the scandals concerned public complaints by women. Furthermore, Paid Puffery is obese and looks almost innocent. This suggests that the boosting of egos of whomever in the press at the time was abundant and made to look completely neutral. Criminal News looks downright afraid, and this suggests that the time period wielded a lot of power in press when they discussed crime. Unlike nowadays, when you can hear about murders happening on the other side of the nation by just turning on your television and thus you’re not as frightened, back in the Gilded Age news was far more localized and hearing about crimes called for more fear as they were surely more close to home. Several other creatures fleeing from the printing press into society are characterized by the type and level of their malevolent effect on readers in the United States during the Gilded Age. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">info is good and well presented but does not fully relfect all aspects of APPARTS

LM Drawn by Joseph Keppler - a prominent Populist cartoonist for Puck, this 1889 political cartoon attracts attention to the gross power of industrial lobbies over the Senate. Emphasized in "The Bosses of the Senate", industrialists were learning to win their monetary games through the submissive hands of government, specifically the Senate. During this era, much of industry's monetary success sprung from coalitions formed by competinging corporations. In order to diminish the hinderence of a free market's price flucuations (as competition favored decreasing prices), many industries formed internal alliances amongst their corporations to coordinate prices and resource allocations. From this, the monopolists benefited, but the wider public was left behind. Senators, shown here as small but happy, were inclined to play puppets for the fat money sacks of buisness-backed trusts both because big buisness provided the overwhelming majority of government tax revenue and industry financed many senator's political assurances. Drawn before the first anti-monopoly law - the Sherman Anti-Trust Law, this cartoon was influenced by Keppler's contemorary perception that congress was subject to the will money sacks of truts more than it was to the voice of the people. Capital had become the new capitol.

Ensconced by the epitaph "This Senate is of the Monopolist, by the Monopolist, and for the Monopolist", the Senate announces its purpose is to uphold the Monopolist (as opposed to the People). This inscription contradicts the Constitution, and was meant to reveal that the government was moving away from its foundational pupose. Also predominating this image, the huge size of corporate lobbies is contrasted to the small stature of the senators. This disparity, between the pithiness of the legislators and the towering gaze of the industrialists, emphasizes how it was industrialist power that truly occupied the Senate's seats of power. Labeled "Steel Beam Trust", "Copper Trust", "Standard Oil Trust" and other resource "trusts", the imposing figures of corporate trusts reference lobbying trusts created to congressionally clear the way for economic success for corporations such as Carnegie's US Steel, JP Morgan's Railroads, and Rockefeller's Standar Oil. The diminuative door in the second story gallery's far corner is labeled "Public Entrance", whereas the grand appurture to the lower right is titled "Entrance for Monopolists". Trusts' accessibility to the Senate floor is broad and open, while the public's voice is locked out of consideration entirely. The public voice had been expelled by the weight of preeminent monopolies and their financial persuasion.

http://dase.laits.utexas.edu/media/american_politics_collection/viewitem/000117147_400.jpg

MJM. The famous political cartoonist, Thomas Nast, had a personal vendetta against William Macy Tweed. He appears in countless pieces of his Nast’s work that were published in New York City during the 1870s. There must be a reason behind Nast’s obsession and the amount of time he devoted toward the portrayal of Tweed. When hearing that Thomas Nast was a German-born immigrant that had to work his way up the social ladder himself it would seem that he would support groups like the Political Machine that aid in immigrant integration into society. When examining the topics of his cartoons though it becomes apparent that Nast does not resent helping other immigrants with problems that he would have faced such as finding a job and navigating the city. What he truly is attacking with these political cartoons is the corruption with the Tammany hall hierarchy. Nast left Germany because of his disgruntled political views and criticisms and therefore obviously the clarity of government, even at the city level such was the Political Machine in New York City, is a priority to him. This political cartoon in particular called “That’s What’s the Matter” depicts Tweed at the polls during election day. His size is over exaggerated to make him look more posh and rich compared to the immigrants that scrapped to get by. The quote “In Counting there is Strength” refers to the corrupted and illegal methods that Tammany Hall used during election to ensure that they retained power. They brought immigrant men to different precincts in order to vote for their candidates multiple times. The Political Machine also bribed politicians and secured places as vote counters during elections. These tactics made Nast disrespect the Political machine for all that they do wrong to keep power but not for what they did right. His cartoons were particularly effective because many immigrants could not read or were not proficient in English. That being said, if there were long explanatory articles about the corruption within the Political Machine the target audience (the immigrants themselves) would not be able to understand it but anyone, no matter what language they speak, can understand a well represented political cartoon. Nast’s methods ultimately worked as Tweed was arrested for his illegal dealings and imprisoned. Even though the cartoons were incredibly popular within the United States and even Europe, no one knew that these cartoons would have the major effect that they would bring down a major political figure. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">good info -- could be more on imp  CJD-  <span style="background-color: transparent; display: block; font-family: 'Times New Roman'; font-size: medium; line-height: normal; margin: 0px; text-align: left;"><span style="background-color: transparent; color: #000000; font-family: 'Times New Roman'; font-size: 10pt; font-style: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Thomas Nast, considered the “Father of the American Cartoon,” drew this picture to be published in <span style="background-color: transparent; color: #000000; font-family: 'Times New Roman'; font-size: 10pt; font-weight: normal; text-decoration: none; vertical-align: baseline;">//Harper’s Weekly// <span style="background-color: transparent; color: #000000; font-family: 'Times New Roman'; font-size: 10pt; font-style: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> in November, 1871, during the height of Nast’s battle against William “Boss” Tweed and the Tammany Hall political machine. Nast spent a great deal of his career in the 1860s and 70s creating a negative image of the corrupt Tweed Ring, believing it was destroying democracy as it took over New York City; he used <span style="background-color: transparent; color: #000000; font-family: 'Times New Roman'; font-size: 10pt; font-weight: normal; text-decoration: none; vertical-align: baseline;">//Harper’s Weekly// <span style="background-color: transparent; color: #000000; font-family: 'Times New Roman'; font-size: 10pt; font-style: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">as an outlet to convey his thoughts and spread the word and image that Tammany Hall was both disreputable and damaging to politics and society. <span style="background-color: transparent; display: block; font-family: 'Times New Roman'; font-size: medium; line-height: normal; margin: 0px; text-align: left;"><span style="background-color: transparent; color: #000000; font-family: 'Times New Roman'; font-size: 10pt; font-style: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Called “The Tammany Tiger Loose,” this cartoon depicts a ferocious tiger killing Colombia, the female personification of the United States of America, in an arena similar to the ancient Roman Coliseum. William Tweed and Mayor A. Oakley Hall are seen watching the slaughter, just as Roman emperors did; these two leaders of the Tammany machine were shown by Nast as approving the murder of democracy. Below the drawing is the question, “What are you going to do about it?” which demonstrates how powerful the “Tammany Tiger” was. Readers of this cartoon were meant to lose any trust they had in Tammany Hall, and Nast’s use of the tiger was important in the downfall of the Tweed Ring. Nast had a great distaste for Tammany's manipulation of multiple political groups in order to gain prominence, so he used exaggerations to give Tweed (a corpulent emperor) and the political machine (a malevolent beast) an appearance that would assure hatred for them from the general populace; while this exhibits propagandistic influence, it is fair when dealing with a criminal. Tweed was convicted for defrauding New York City’s taxpayers for tens of millions of dollars, and Nast’s many depictions of him and Tammany Hall in cartoons was a key reason for the widespread knowledge of the Tweed Ring’s corruption. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">hard to grade with no cartoon but clearly does not reflect all aspects of APPARTS

The man who created this cartoon was the famous political cartoonist: Thomas Nast. Nast was an enormously influential cartoonist in the late 19th century. He was influential in bringing down a major manipulative party boss by the name of Boss Tweed. Nast despised the corrupt politicians in NYC and campaigned against them with great vigor. Nast wrote for a variety of papers in NYC who all wanted Nast, the most influential cartoonist in the country, to work for them. He also made cartoons for some of the most famous magazines of the time such as //Judge, Puck,// and//Harpers Weekly.// This cartoon was drawn in 1877 in New York City. New York audiences and then audiences across the country would see Nast’s cartoons in their morning papers, and the many issues of influential national publications that incorporated Nast’s work. T <span style="font-family: Arial,Bold;">he cartoon above is not only an attack on Tammany Hall and other corrupt political machines, but it is a crack at and allusion to famous democratic president, Andrew Jackson. Nast saw Jackson’s “Spoils system” as enormously corrupt and analogous to the state of politics today. Thus, by portraying Jackson and his system in a negative light, he simultaneously paints a negative picture of current corrupt political leaders. Knowledge of the political climate within the Gilded age as well as an understanding of the Jacksonpresidency would allows for a greater understanding of the cartoon. The symbolism within the cartoon is rather strait forward. Jackson rides on top of a pig on his statue. The pig symbolizes the Jackson presidency as well as corruption in politics. The fact that the statue is in gold represents the respect or at least toleration we still have of these corrupt policies then and now. This cartoon was written largely for the middle or lower class citizens in America. A picture depicting a recognizable person is far easy to understand than a long article in a news paper. The main idea that the Author is trying to convey through this cartoon, is that the corrupt government practices of Andrew Jackson are being praised by modern politicians instead of vilified. This cartoon was one of many by Thomas Nast. Nast was a huge player in bringing down Boss Tweed and his political cartoons were widely enjoyed by the public.

SFH - Text to follow. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">no text J. R. C.-



The very famous political cartoonist Thomas Nast always seemed to have a personal hatred toward William Macy “Boss” Tweed. When many major newspaper publishers started to expose the massive corruption by the members of Tammany Hall and Boss Tweed, Thomas Nast intensified his assault against his adversary. Nast worked for the highly acclaimed newspaper of the time called //Harper’s Weekly//, who along with the other major newspaper publishers, began a relentless assault on Tweed and his assistants. This cartoon was published in 1871 and this time period is important, because it held the primary accounts of Tweed’s illegal actions which further promoted the questioning of specific acts committed by Tammany Hall’s higher officials found in the Tweed Ring. This material specifically addresses the fact that no one person found in Tweed Ring would take the blame for the corrupt nature of his political machine. Tammany Hall was a highly organized group of men following positions, up to the highest role of “boss” of the machine. The leaders of the machine influenced new immigrants to vote in their favor, bolstering their position in the city government. Upon the acquisition of a puppet in the city government, the boss of Tammany Hall, Tweed, and his group of high officials, the Tweed Ring, began acquiring funds for certain city projects. Often illegal, the group’s actions could never be traced to one person, often making it hard to acknowledge, let alone stop. The understanding of Nast’s depiction of Tweed Ring is made much more simple upon understanding the shady, extralegal acts performed by the entire group; rather than just one man. One outstanding symbol found in this cartoon is the obvious image of every man in the ring pointing to the next. This supports the idea that Nast attempted to display the lack of personal responsibility shared by all the men in this portrayal. This cartoon is very important, because it served as the quintessential image of the public’s view of the Tammany Ring, until emotions toward the machine turned sour. After the massive assault on this political machine made by various newspaper publishers, this cartoon served as the visual basis, upon which all future ideas of the Tweed Ring were made, and to this day, the image serves as a visual metaphor for the common phrase, “Passing the buck.” <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif; font-size: 11pt; line-height: 0px; overflow: hidden;">good job but could be more thorough



AJJ- In this political cartoon entitled "King of the World," John D. Rockefeller is depicted as the king of money with his crown being the large corporation that he owns. Puck Magazine published this cartoon in 1901 after Rockefeller had went on his massive buying spree of land for oil production and Standard Oil was near its peak. This picture was a result of the skepticism of having an oil monopoly by the cartoonist who realized the vast sectors of the economy that Rockefeller solely owned.

Rockefeller’s excessively large crown is made up of the individual entities that he owns. The emphasis on the size of the crown is very important because it makes it seem to the viewer like the individual companies are large and therefore more powerful. Rockefeller wearing this massive crown of power signifies that he is in complete control. The stern, regal look on Rockefeller’s face makes him seem heartless and uncaring. His kingly attire emphasizes his vast wealth which is epitomized by the dollar signs on the cape he is wearing. Rockefeller stands on an object that says standard oil and looks away as the scene in his wake is desolate and barren. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">no credit -- does not reflect APPARTS

VB – This cartoon, “Uncle Sam Walks the Plank,” was published on May 22, 1899 by C.Gordan Moffat. It appeared in //The Verdict//, a weekly humor magazine, whose editor, Alfred Lewis, supported democratic principles. It may be assumed that Moffat’s work is accepted by this magazine because it portrays democratic values as well. The Democrats opposed corruption within the government and strongly condemned the trust’s manipulations. During this period, trusts were monopolizing industries, which instilled fear within the public. From the public perspective, the trusts were strengthening within their respective industries. The trusts were expanding into the area of politics and soon became evident that government domination by trust leaders was inevitable. Although strong trust organizers like J.D. Rockefeller and his supporters would have disagreed with the intent of the cartoon, the cartoon sympathized with the people’s discontent.

The message of this cartoon, confirms the fear felt by the people. The cartoon illustrates that trusts have taken over and unless the government takes action, the country will continue to be manipulated. The caption, “One sees his finish unless good government retakes the ship,” is illustrated first by Uncle Sam being pushed down the plank and also by the trustees taking down the American flag and hoisting their own. Pirates are used by the cartoonist to compare the similar style of their actions; both robbing the people of their own wealth. The skull and cross bones on the Trust flag further emphasized the destructive nature of the trusts. The names on the ship’s pirates are most likely board members of a trust. They are happily taking over the ship and government. The time of day is sunset and symbolizes the descending of American government. This cartoon further brought the demise of the trusts by supporting the creation of Anti-trust Acts. Government must “retake the ship” to regain control of the country.<span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;"> info here is good but does not thoroughly reflect APPARTS <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif; line-height: 26px;">   SW - The cartoon “Where the Blame Lies” was drawn by Grant Hamilton and published on April 4, 1891 in “Judge”. The cartoon was printed during a time of multiple problems such as those of crime, poverty, social unrest, and political unrest in America. There were troubles but no particular person was to blame them on. This cartoon blames all of the problems on the immigrants. It portrays Uncle Sam as the representation of America. The judge is showing America that they are allowing all of these immigrants to enter the country while they are the ones causing the problems. The people are coming into Castle Garden and are labeled with stereotypes. They are labeled as "German socialist," "Russian anarchist," "Polish vagabond," "Italian brigand," "English convict," and "Irish pauper”. None of these names are positive, so there is a misconception that only bad people are coming to the United States. The audience was the citizens of America. The cartoon was produced to discourage immigration. The immigrants where wrongfully blamed for the problems in America at the time. It expressed the political need to limit or stop immigration in order to end America’s problems. This cartoon shows the discrimination of immigrants. This mindset that is shown in the cartoon shows the discrimination at the time and will encourage more discrimination of immigrants in the future. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;"> info presented is good but dows not thoroughly reflect APPARTS  <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">

<span style="font-family: 'Times New Roman',serif; font-size: 11.5pt; margin: auto 0in;">KEO- This cartoon was drawn by William A. Rogers and it was published on October 20, 1888 in //Harper’s Weekly//. //Harper’s Weekly// was a political magazine that addressed both foreign and domestic concerns. This cartoon was drawn at a time when large trusts were creating monopolies on industry, bringing large amounts of power to a few individuals- one of these individuals being Andrew Carnegie. He believed in the benefits of business consolidation and he had become a large business leader himself. His philosophy is demonstrated in the drawing in which each of the beasts’ horns has one of Carnegie’s investments written on it. Carnegie supported trusts and said that they may be regarded with “serene confidence.” William A. Rogers was hired by //Harper’s Weekly// in 1877 and he took over the political cartoon cover after Thomas Nast left. He continued Nast’s tradition of creating bold statements against the United States government. In this cartoon he uses the popular character of Uncle Sam to represent America and he uses a demonic beast to represent trusts and big business. Andrew Carnegie appears to be calmly explaining to Uncle Sam the harmlessness of trusts. Rogers’ contrast between Carnegie’s calm demeanor and the obviously harmful nature of the beast demonstrate that he believes that the domination of the economy by trusts is harmful to American society. His use of irony reveals his overall message: that trusts are a danger to the well-being of the United States and that Carnegie is not a person to be trusted when it comes to his ideas on industry. This cartoon largely appeals to those who supported the anti-trust laws and were against the restriction of trade that came with big business. It would also appeal to laborers who might have felt abused by these business practices. It would obviously not be supported by those who benefited from trusts such as big business leaders and the CEO’s of large companies. This material is significant in that it addressed one of the most important economic and political debates of the Gilded Age and it had the potential to undermine the status of big business leaders by encouraging the government to limit their power.

[] NDH-This cartoon was made by George B. Luks for the June 5, 1899 issue of // The Verdict //. John D. Rockefeller and five of the biggest names in oil at the time, shown in the cartoon, were the men that created and became a part of the Standard Oil Trust. This group of men is The Board of Trustees. They monopolized oil and set equal prices and production levels in order to get as much money out of Americans as they could.

In this illustration, the Board of Trustees commandeers a ship that was being sailed by Uncle Sam. The ship likely represents America as a whole. The cartoon’s main motif is that the Standard Oil Trust was becoming so powerful that it would take over America if the government didn’t fight back. Rockefeller is portrayed as extremely happy to be taking control of the ship. Though their control over America had already happened and was already being fought, the cartoon likely represents what would have prevented it or would remedy the problem sooner. The flag the Board is raising on the mast shows labor as the means the board uses to take control. Because it’s represented by bones, it can be deduced that people see the labor as deadly, which is was, being that oil refinery workers died at much higher rate that other American workers. This sentiment is bolstered by the image of Uncle Sam, who represents the hard work of Americans, being walked off the plank, which in turn is meant to represent the power that big oil had created over the federal government. The clothing the Board is wearing, by both the dark colors and pirate-like look, give the situation an air of darkness and negativity; they’ve left the American flag on the floor to walk all over it, which could be a representation that big business was not only destroying America, but had absolutely no respect for the country’s values. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif; line-height: 200%;">difficult to accurately assess with no cartoon but clearly does not fully reflect APPARTS 2

JGF - The Political Cartoon, “What Are You Laughing At? To the Victor Belong the Spoils” was created by Thomas Nast, a hugely influential political cartoonist during the Gilded Age, and published in Harper’s Weekly, a national newspaper. Rather than writing and publishing articles, newspapers in the late 19th century often chose to produce cartoons because many immigrants were illiterate. Immigrants were the primary audience for the cartoon since they were Boss Tweed’s main constituents, so publishing images was particularly effective against him. The cartoon depicts Tweed leaning against the New York Treasury, which has been ripped open, fat, and dressed in tarnished warrior’s clothing, surrounded by the boots of his Tammany Boys. Obviously, this was designed to illustrate that he had torn into the treasury and left it broken, resulting in his downfall from a warrior to a broken man. The words “Tammany Boys Whipped Out of Their Boots” emblazon a column in the background, which ads credence to the claim that Tweed is a lone survivor among his old cronies. In the corner, a small money bag bears the label “Tammany Brains,” which is an obvious reference to corruption within the voting system. Finally, Boss Tweed’s forehead is ringed with dollar symbols, almost as if he used to wear a crown there. This reinforces the notion that Tweed has fallen from his position of power, and that power was in fact based solely in money anyway. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">info here is good but does not fully reflect APPARTS

KBM

The cartoon pictures above displays the racist cruelty expressed in the Chinese Exclusion act. The ‘allow list’ seems hyperbolic but when though about is true. Communists, Socialists, etc… were all allowed to enter into the USA but the Chinese were forbidden because they were stereotyped to only stay for a few years then leave with the American money they made. The cartoon also emphasizes the American virtues of freedom and liberty on the gate and America as a melting pot. The act was very controversial because it was actually based on racial discriminatory stereotypes which went against much of which America was about. The Chinese worked on the railroads for long periods of time and many were dubbed as all unskilled laborers who were stealing jobs from other Americans then moving out of the country. This stereotype was the basis for the Chinese Exclusion Act. Some, with great difficulty were able to gain access and immigrate to the USA with permission from the government, but this was near impossible to do. The cartoon displays how the Chinese were unfairly locked out of American because of their race and were unable to obtain citizenship. <span style="color: #009aff; font-family: 'Arial Black',Gadget,sans-serif;">info is good but way lacking -- needs to reflect ALL aspects of APPARTS