Anatomy of a New Yorker cartoon
-
0:01 - 0:02I'm going to be talking about designing humor,
-
0:02 - 0:04which is sort of an interesting thing, but it goes
-
0:04 - 0:08to some of the discussions about constraints,
-
0:08 - 0:11and how in certain contexts, humor is right,
-
0:11 - 0:13and in other contexts it's wrong.
-
0:13 - 0:15Now, I'm from New York,
-
0:15 - 0:19so it's 100 percent satisfaction here.
-
0:19 - 0:22Actually, that's ridiculous, because when it comes to humor,
-
0:22 - 0:2575 percent is really absolutely the best you can hope for.
-
0:25 - 0:30Nobody is ever satisfied 100 percent with humor
-
0:30 - 0:33except this woman.
-
0:33 - 0:43(Video) Woman: (Laughs)
-
0:50 - 0:52Bob Mankoff: That's my first wife.
-
0:52 - 0:54(Laughter)
-
0:54 - 0:57That part of the relationship went fine.
-
0:57 - 1:00(Laughter)
-
1:00 - 1:04Now let's look at this cartoon.
-
1:04 - 1:05One of the things I'm pointing out is that
-
1:05 - 1:08cartoons appear within the context
-
1:08 - 1:09of The New Yorker magazine,
-
1:09 - 1:11that lovely Caslon type, and it seems
-
1:11 - 1:15like a fairly benign cartoon within this context.
-
1:15 - 1:17It's making a little bit fun of getting older,
-
1:17 - 1:18and, you know, people might like it.
-
1:18 - 1:21But like I said, you cannot satisfy everyone.
-
1:21 - 1:24You couldn't satisfy this guy.
-
1:24 - 1:27"Another joke on old white males. Ha ha. The wit.
-
1:27 - 1:28It's nice, I'm sure to be young and rude,
-
1:28 - 1:32but some day you'll be old, unless you drop dead as I wish."
-
1:32 - 1:35(Laughter)
-
1:35 - 1:39The New Yorker is rather a sensitive environment,
-
1:39 - 1:41very easy for people to get their nose out of joint.
-
1:41 - 1:44And one of the things that you realize
-
1:44 - 1:47is it's an unusual environment.
-
1:47 - 1:49Here I'm one person talking to you.
-
1:49 - 1:53You're all collective. You all hear each other laugh and know each other laugh.
-
1:53 - 1:57In The New Yorker, it goes out to a wide audience,
-
1:57 - 1:58and when you actually look at that,
-
1:58 - 2:02and nobody knows what anybody else is laughing at,
-
2:02 - 2:05and when you look at that the subjectivity involved in humor
-
2:05 - 2:07is really interesting.
-
2:07 - 2:08Let's look at this cartoon.
-
2:08 - 2:11"Discouraging data on the antidepressant."
-
2:11 - 2:13(Laughter)
-
2:13 - 2:16Indeed, it is discouraging.
-
2:16 - 2:18Now, you would think, well, look,
-
2:18 - 2:19most of you laughed at that.
-
2:19 - 2:21Right? You thought it was funny.
-
2:21 - 2:22In general, that seems like a funny cartoon,
-
2:22 - 2:26but let's look what online survey I did.
-
2:26 - 2:28Generally, about 85 percent of the people liked it.
-
2:28 - 2:31A hundred and nine voted it a 10, the highest. Ten voted it one.
-
2:31 - 2:33But look at the individual responses.
-
2:33 - 2:36"I like animals!!!!!" Look how much they like them.
-
2:36 - 2:39(Laughter)
-
2:39 - 2:42"I don't want to hurt them. That doesn't seem very funny to me."
-
2:42 - 2:44This person rated it a two.
-
2:44 - 2:49"I don't like to see animals suffer -- even in cartoons."
-
2:49 - 2:54To people like this, I point out we use anesthetic ink.
-
2:54 - 2:56Other people thought it was funny.
-
2:56 - 2:59That actually is the true nature of the distribution of humor
-
2:59 - 3:03when you don't have the contagion of humor.
-
3:03 - 3:05Humor is a type of entertainment.
-
3:05 - 3:08All entertainment contains a little frisson of danger,
-
3:08 - 3:10something that might happen wrong,
-
3:10 - 3:13and yet we like it when there's protection.
-
3:13 - 3:16That's what a zoo is. It's danger. The tiger is there.
-
3:16 - 3:20The bars protect us. That's sort of fun, right?
-
3:20 - 3:21That's a bad zoo.
-
3:21 - 3:24(Laughter)
-
3:24 - 3:28It's a very politically correct zoo, but it's a bad zoo.
-
3:28 - 3:30But this is a worse one.
-
3:30 - 3:34(Laughter)
-
3:34 - 3:38So in dealing with humor in the context of The New Yorker,
-
3:38 - 3:41you have to see, where is that tiger going to be?
-
3:41 - 3:42Where is the danger going to exist?
-
3:42 - 3:44How are you going to manage it?
-
3:44 - 3:49My job is to look at 1,000 cartoons a week.
-
3:49 - 3:53But The New Yorker only can take 16 or 17 cartoons,
-
3:53 - 3:55and we have 1,000 cartoons.
-
3:55 - 3:57Of course, many, many cartoons must be rejected.
-
3:57 - 4:01Now, we could fit more cartoons in the magazine
-
4:01 - 4:03if we removed the articles.
-
4:03 - 4:06(Laughter)
-
4:06 - 4:11But I feel that would be a huge loss,
-
4:11 - 4:15one I could live with, but still huge.
-
4:15 - 4:18Cartoonists come in through the magazine every week.
-
4:18 - 4:20The average cartoonist who stays with the magazine
-
4:20 - 4:23does 10 or 15 ideas every week.
-
4:23 - 4:26But they mostly are going to be rejected.
-
4:26 - 4:29That's the nature of any creative activity.
-
4:29 - 4:32Many of them fade away. Some of them stay.
-
4:32 - 4:34Matt Diffee is one of them.
-
4:34 - 4:36Here's one of his cartoons.
-
4:36 - 4:41(Laughter)
-
4:41 - 4:44Drew Dernavich. "Accounting night at the improv."
-
4:44 - 4:46"Now is the part of the show when we ask the audience
-
4:46 - 4:51to shout out some random numbers."
-
4:51 - 4:56Paul Noth. "He's all right. I just wish he were a little more pro-Israel."
-
4:56 - 5:00(Laughter)
-
5:00 - 5:02Now I know all about rejection,
-
5:02 - 5:07because when I quit -- actually, I was booted out of -- psychology school
-
5:07 - 5:10and decided to become a cartoonist, a natural segue,
-
5:10 - 5:15from 1974 to 1977 I submitted 2,000 cartoons to The New Yorker,
-
5:15 - 5:20and got 2,000 cartoons rejected by The New Yorker.
-
5:20 - 5:24At a certain point, this rejection slip, in 1977 --
-
5:24 - 5:25[We regret that we are unable to use the enclosed material. Thank you for giving us the opportunity to consider it.] —
-
5:25 - 5:27magically changed to this.
-
5:27 - 5:30[Hey! You sold one. No shit! You really sold a cartoon to the fucking New Yorker magazine.]
-
5:30 - 5:33(Laughter)
-
5:33 - 5:35Now of course that's not what happened,
-
5:35 - 5:40but that's the emotional truth.
-
5:40 - 5:42And of course, that is not New Yorker humor.
-
5:42 - 5:44What is New Yorker humor?
-
5:44 - 5:49Well, after 1977, I broke into The New Yorker and started selling cartoons.
-
5:49 - 5:52Finally, in 1980, I received the revered
-
5:52 - 5:54New Yorker contract,
-
5:54 - 5:58which I blurred out parts because it's none of your business.
-
5:58 - 6:01From 1980. "Dear Mr. Mankoff, confirming the agreement
-
6:01 - 6:04there of -- " blah blah blah blah -- blur --
-
6:04 - 6:07"for any idea drawings."
-
6:07 - 6:10With respect to idea drawings, nowhere in the contract
-
6:10 - 6:12is the word "cartoon" mentioned.
-
6:12 - 6:18The word "idea drawings," and that's the sine qua non of New Yorker cartoons.
-
6:18 - 6:21So what is an idea drawing? An idea drawing is something
-
6:21 - 6:24that requires you to think.
-
6:24 - 6:27Now that's not a cartoon. It requires thinking
-
6:27 - 6:30on the part of the cartoonist and thinking on your part
-
6:30 - 6:32to make it into a cartoon.
-
6:32 - 6:38(Laughter)
-
6:38 - 6:43Here are some, generally you get my cast of cartoon mind.
-
6:43 - 6:49"There is no justice in the world. There is some justice in the world. The world is just."
-
6:49 - 6:51This is What Lemmings Believe.
-
6:51 - 6:58(Laughter)
-
6:58 - 7:01The New Yorker and I, when we made comments,
-
7:01 - 7:05the cartoon carries a certain ambiguity about what it actually is.
-
7:05 - 7:07What is it, the cartoon? Is it really about lemmings?
-
7:07 - 7:10No. It's about us.
-
7:10 - 7:13You know, it's my view basically about religion,
-
7:13 - 7:17that the real conflict and all the fights between religion
-
7:17 - 7:20is who has the best imaginary friend.
-
7:20 - 7:25(Laughter)
-
7:25 - 7:27And this is my most well-known cartoon.
-
7:27 - 7:31"No, Thursday's out. How about never — is never good for you?"
-
7:31 - 7:34It's been reprinted thousands of times, totally ripped off.
-
7:34 - 7:36It's even on thongs,
-
7:36 - 7:43but compressed to "How about never — is never good for you?"
-
7:43 - 7:46Now these look like very different forms of humor
-
7:46 - 7:49but actually they bear a great similarity.
-
7:49 - 7:53In each instance, our expectations are defied.
-
7:53 - 7:57In each instance, the narrative gets switched.
-
7:57 - 7:59There's an incongruity and a contrast.
-
7:59 - 8:02In "No, Thursday's out. How about never — is never good for you?"
-
8:02 - 8:05what you have is the syntax of politeness
-
8:05 - 8:07and the message of being rude.
-
8:07 - 8:10That really is how humor works. It's a cognitive synergy
-
8:10 - 8:14where we mash up these two things which don't go together
-
8:14 - 8:17and temporarily in our minds exist.
-
8:17 - 8:19He is both being polite and rude.
-
8:19 - 8:23In here, you have the propriety of The New Yorker
-
8:23 - 8:25and the vulgarity of the language.
-
8:25 - 8:27Basically, that's the way humor works.
-
8:27 - 8:29So I'm a humor analyst, you would say.
-
8:29 - 8:33Now E.B. White said, analyzing humor is like dissecting a frog.
-
8:33 - 8:35Nobody is much interested, and the frog dies.
-
8:35 - 8:40Well, I'm going to kill a few, but there won't be any genocide.
-
8:40 - 8:42But really, it makes me —
-
8:42 - 8:44Let's look at this picture. This is an interesting picture,
-
8:44 - 8:46The Laughing Audience.
-
8:46 - 8:48There are the people, fops up there,
-
8:48 - 8:51but everybody is laughing, everybody is laughing
-
8:51 - 8:53except one guy.
-
8:53 - 8:58This guy. Who is he? He's the critic.
-
8:58 - 9:00He's the critic of humor,
-
9:00 - 9:04and really I'm forced to be in that position,
-
9:04 - 9:07when I'm at The New Yorker, and that's the danger
-
9:07 - 9:12that I will become this guy.
-
9:12 - 9:15Now here's a little video made by Matt Diffee, sort of
-
9:15 - 9:19how they imagine if we really exaggerated that.
-
9:19 - 9:22(Video) Bob Mankoff: "Oooh, no.
-
9:22 - 9:24Ehhh.
-
9:24 - 9:33Oooh. Hmm. Too funny.
-
9:33 - 9:37Normally I would but I'm in a pissy mood.
-
9:37 - 9:40I'll enjoy it on my own. Perhaps.
-
9:40 - 9:44No. Nah. No.
-
9:44 - 9:47Overdrawn. Underdrawn.
-
9:47 - 9:49Drawn just right, still not funny enough.
-
9:49 - 9:53No. No.
-
9:53 - 9:56For God's sake no, a thousand times no.
-
9:56 - 9:59(Music)
-
9:59 - 10:05No. No. No. No. No. [Four hours later]
-
10:05 - 10:09Hey, that's good, yeah, whatcha got there?
-
10:09 - 10:11Office worker: Got a ham and swiss on rye?BM: No.
-
10:11 - 10:14Office worker: Okay. Pastrami on sourdough?BM: No.
-
10:14 - 10:16Office worker: Smoked turkey with bacon?BM: No.
-
10:16 - 10:18Office worker: Falafel?BM: Let me look at it.
-
10:18 - 10:20Eh, no.
-
10:20 - 10:21Office worker: Grilled cheese?BM: No.
-
10:21 - 10:22Office worker: BLT?BM: No.
-
10:22 - 10:25Office worker: Black forest ham and mozzarella with apple mustard?BM: No.
-
10:25 - 10:27Office worker: Green bean salad?BM: No.
-
10:27 - 10:30(Music)
-
10:30 - 10:32No. No.
-
10:32 - 10:35Definitely no. [Several hours after lunch]
-
10:35 - 10:44(Siren)
-
10:57 - 10:59No. Get out of here.
-
10:59 - 11:01(Laughter)
-
11:01 - 11:04That's sort of an exaggeration of what I do.
-
11:04 - 11:07Now, we do reject, many, many, many cartoons,
-
11:07 - 11:10so many that there are many books called "The Rejection Collection."
-
11:10 - 11:15"The Rejection Collection" is not quite New Yorker kind of humor.
-
11:15 - 11:17And you might notice the bum on the sidewalk here
-
11:17 - 11:21who is boozing and his ventriloquist dummy is puking.
-
11:21 - 11:24See, that's probably not going to be New Yorker humor.
-
11:24 - 11:27It's actually put together by Matt Diffee, one of our cartoonists.
-
11:27 - 11:31So I'll give you some examples of rejection collection humor.
-
11:31 - 11:34"I'm thinking about having a child."
-
11:34 - 11:39(Laughter)
-
11:39 - 11:43There you have an interesting -- the guilty laugh,
-
11:43 - 11:46the laugh against your better judgment.
-
11:46 - 11:49(Laughter)
-
11:49 - 11:53"Ass-head. Please help."
-
11:53 - 11:55(Laughter)
-
11:55 - 11:59Now, in fact, within a context of this book,
-
11:59 - 12:02which says, "Cartoons you never saw and never will see
-
12:02 - 12:04in The New Yorker," this humor is perfect.
-
12:04 - 12:06I'm going to explain why.
-
12:06 - 12:08There's a concept about humor about it being
-
12:08 - 12:10a benign violation.
-
12:10 - 12:12In other words, for something to be funny, we've got to think
-
12:12 - 12:15it's both wrong and also okay at the same time.
-
12:15 - 12:18If we think it's completely wrong, we say, "That's not funny."
-
12:18 - 12:22And if it's completely okay, what's the joke? Okay?
-
12:22 - 12:27And so, this benign, that's true of "No, Thursday's out. How about never — is never good for you?"
-
12:27 - 12:30It's rude. The world really shouldn't be that way.
-
12:30 - 12:32Within that context, we feel it's okay.
-
12:32 - 12:36So within this context, "Asshead. Please help"
-
12:36 - 12:38is a benign violation.
-
12:38 - 12:42Within the context of The New Yorker magazine ...
-
12:42 - 12:46"T-Cell Army: Can the body's immune response
-
12:46 - 12:50help treat cancer?" Oh, goodness.
-
12:50 - 12:53You're reading about this smart stuff,
-
12:53 - 12:57this intelligent dissection of the immune system.
-
12:57 - 13:01You glance over at this, and it says,
-
13:01 - 13:06"Asshead. Please help"? God.
-
13:06 - 13:11So there the violation is malign. It doesn't work.
-
13:11 - 13:14There is no such thing as funny in and of itself.
-
13:14 - 13:18Everything will be within the context and our expectations.
-
13:18 - 13:21One way to look at it is this.
-
13:21 - 13:25It's sort of called a meta-motivational theory about how we look,
-
13:25 - 13:27a theory about motivation and the mood we're in
-
13:27 - 13:30and how the mood we're in determines the things we like
-
13:30 - 13:32or dislike.
-
13:32 - 13:36When we're in a playful mood, we want excitement.
-
13:36 - 13:40We want high arousal. We feel excited then.
-
13:40 - 13:42If we're in a purposeful mood, that makes us anxious.
-
13:42 - 13:48"The Rejection Collection" is absolutely in this field.
-
13:48 - 13:50You want to be stimulated. You want to be aroused.
-
13:50 - 13:55You want to be transgressed.
-
13:55 - 13:59It's like this, like an amusement park.
-
13:59 - 14:08Voice: Here we go. (Screams)
-
14:08 - 14:12He laughs. He is both in danger and safe,
-
14:12 - 14:15incredibly aroused. There's no joke. No joke needed.
-
14:15 - 14:19If you arouse people enough and get them stimulated enough,
-
14:19 - 14:21they will laugh at very, very little.
-
14:21 - 14:23This is another cartoon from "The Rejection Collection."
-
14:23 - 14:28"Too snug?"
-
14:28 - 14:30That's a cartoon about terrorism.
-
14:30 - 14:33The New Yorker occupies a very different space.
-
14:33 - 14:37It's a space that is playful in its own way, and also purposeful,
-
14:37 - 14:40and in that space, the cartoons are different.
-
14:40 - 14:43Now I'm going to show you cartoons The New Yorker did
-
14:43 - 14:47right after 9/11, a very, very sensitive area when humor could be used.
-
14:47 - 14:49How would The New Yorker attack it?
-
14:49 - 14:53It would not be with a guy with a bomb saying, "Too snug?"
-
14:53 - 14:55Or there was another cartoon I didn't show because
-
14:55 - 14:59actually I thought maybe people would be offended.
-
14:59 - 15:03The great Sam Gross cartoon, this happened
-
15:03 - 15:07after the Muhammad controversy where it's Muhammad in heaven,
-
15:07 - 15:10the suicide bomber is all in little pieces,
-
15:10 - 15:12and he's saying to the suicide bomber,
-
15:12 - 15:15"You'll get the virgins when we find your penis."
-
15:15 - 15:19(Laughter)
-
15:19 - 15:23Better left undrawn.
-
15:23 - 15:25The first week we did no cartoons.
-
15:25 - 15:28That was a black hole for humor, and correctly so.
-
15:28 - 15:31It's not always appropriate every time.
-
15:31 - 15:35But the next week, this was the first cartoon.
-
15:35 - 15:39"I thought I'd never laugh again. Then I saw your jacket."
-
15:39 - 15:42It basically was about, if we were alive,
-
15:42 - 15:44we were going to laugh. We were going to breathe.
-
15:44 - 15:46We were going to exist. Here's another one.
-
15:46 - 15:52"I figure if I don't have that third martini, then the terrorists win."
-
15:52 - 15:55These cartoons are not about them. They're about us.
-
15:55 - 15:58The humor reflects back on us.
-
15:58 - 16:01The easiest thing to do with humor, and it's perfectly legitimate,
-
16:01 - 16:05is a friend makes fun of an enemy.
-
16:05 - 16:07It's called dispositional humor.
-
16:07 - 16:11It's 95 percent of the humor. It's not our humor.
-
16:11 - 16:13Here's another cartoon.
-
16:13 - 16:17"I wouldn't mind living in a fundamentalist Islamic state."
-
16:17 - 16:21(Laughter)
-
16:26 - 16:30Humor does need a target.
-
16:30 - 16:34But interestingly, in The New Yorker, the target is us.
-
16:34 - 16:37The target is the readership and the people who do it.
-
16:37 - 16:39The humor is self-reflective
-
16:39 - 16:42and makes us think about our assumptions.
-
16:42 - 16:46Look at this cartoon by Roz Chast, the guy reading the obituary.
-
16:46 - 16:48"Two years younger than you, 12 years older than you,
-
16:48 - 16:51three years your junior, your age on the dot,
-
16:51 - 16:54exactly your age."
-
16:54 - 16:57That is a deeply profound cartoon.
-
16:57 - 17:02And so The New Yorker is also trying to, in some way,
-
17:02 - 17:05make cartoons say something besides funny
-
17:05 - 17:08and something about us. Here's another one.
-
17:08 - 17:10"I started my vegetarianism for health reasons,
-
17:10 - 17:13Then it became a moral choice, and now it's just to annoy people."
-
17:13 - 17:19(Laughter)
-
17:19 - 17:22"Excuse me — I think there's something wrong with this
-
17:22 - 17:28in a tiny way that no one other than me would ever be able to pinpoint."
-
17:28 - 17:32So it focuses on our obsessions, our narcissism,
-
17:32 - 17:36our foils and our foibles, really not someone else's.
-
17:36 - 17:38The New Yorker demands
-
17:38 - 17:41some cognitive work on your part,
-
17:41 - 17:43and what it demands is what Arthur Koestler,
-
17:43 - 17:46who wrote "The Act of Creation" about the relationship
-
17:46 - 17:49between humor, art and science,
-
17:49 - 17:51is what's called bisociation.
-
17:51 - 17:55You have to bring together ideas from different frames of reference,
-
17:55 - 17:58and you have to do it quickly to understand the cartoon.
-
17:58 - 18:00If the different frames of reference don't come together
-
18:00 - 18:02in about .5 seconds, it's not funny,
-
18:02 - 18:04but I think they will for you here.
-
18:04 - 18:06Different frames of reference.
-
18:06 - 18:09"You slept with her, didn't you?"
-
18:09 - 18:15(Laughter)
-
18:15 - 18:17"Lassie! Get help!!"
-
18:17 - 18:21(Laughter)
-
18:21 - 18:24It's called French Army Knife.
-
18:24 - 18:30(Laughter)
-
18:30 - 18:33And this is Einstein in bed. "To you it was fast."
-
18:33 - 18:40(Laughter)
-
18:40 - 18:43Now there are some cartoons that are puzzling.
-
18:43 - 18:47Like, this cartoon would puzzle many people.
-
18:47 - 18:51How many people know what this cartoon means?
-
18:51 - 18:56The dog is signaling he wants to go for a walk.
-
18:56 - 19:02This is the signal for a catcher to walk the dog.
-
19:02 - 19:04That's why we run a feature in the cartoon issue every year
-
19:04 - 19:07called "I Don't Get It: The New Yorker Cartoon I.Q. Test."
-
19:07 - 19:09(Laughter)
-
19:09 - 19:11The other thing The New Yorker plays around with
-
19:11 - 19:14is incongruity, and incongruity, I've shown you,
-
19:14 - 19:16is sort of the basis of humor.
-
19:16 - 19:19Something that's completely normal or logical isn't going to be funny.
-
19:19 - 19:23But the way incongruity works is, observational humor
-
19:23 - 19:25is humor within the realm of reality.
-
19:25 - 19:30"My boss is always telling me what to do." Okay?
-
19:30 - 19:33That could happen. It's humor within the realm of reality.
-
19:33 - 19:36Here, cowboy to a cow:
-
19:36 - 19:40"Very impressive. I'd like to find 5,000 more like you."
-
19:40 - 19:44We understand that. It's absurd. But we're putting the two together.
-
19:44 - 19:47Here, in the nonsense range:
-
19:47 - 19:52"Damn it, Hopkins, didn't you get yesterday's memo?"
-
19:52 - 19:57Now that's a little puzzling, right? It doesn't quite come together.
-
19:57 - 19:59In general, people who enjoy more nonsense,
-
19:59 - 20:01enjoy more abstract art,
-
20:01 - 20:05they tend to be liberal, less conservative, that type of stuff.
-
20:05 - 20:08But for us, and for me, helping design the humor,
-
20:08 - 20:11it doesn't make any sense to compare one to the other.
-
20:11 - 20:15It's sort of a smorgasbord that's made all interesting.
-
20:15 - 20:20So I want to sum all this up with a caption to a cartoon,
-
20:20 - 20:23and I think this sums up the whole thing, really,
-
20:23 - 20:25about The New Yorker cartoons.
-
20:25 - 20:28"It sort of makes you stop and think, doesn't it."
-
20:28 - 20:31(Laughter)
-
20:31 - 20:34And now, when you look at New Yorker cartoons,
-
20:34 - 20:36I'd like you to stop and think a little bit more about them.
-
20:36 - 20:37Thank you.
-
20:37 - 20:41(Applause)
-
20:41 - 20:43Thank you. (Applause)
- Title:
- Anatomy of a New Yorker cartoon
- Speaker:
- Bob Mankoff
- Description:
-
The New Yorker receives around 1,000 cartoons each week; it only publishes about 17 of them. In this hilarious, fast-paced, and insightful talk, the magazine's longstanding cartoon editor and self-proclaimed "humor analyst" Bob Mankoff dissects the comedy within just some of the "idea drawings" featured in the magazine, explaining what works, what doesn't, and why.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 20:59
Morton Bast edited English subtitles for Anatomy of a New Yorker cartoon | ||
Morton Bast edited English subtitles for Anatomy of a New Yorker cartoon | ||
Morton Bast edited English subtitles for Anatomy of a New Yorker cartoon | ||
Thu-Huong Ha approved English subtitles for Anatomy of a New Yorker cartoon | ||
Thu-Huong Ha edited English subtitles for Anatomy of a New Yorker cartoon | ||
Thu-Huong Ha edited English subtitles for Anatomy of a New Yorker cartoon | ||
Morton Bast accepted English subtitles for Anatomy of a New Yorker cartoon | ||
Morton Bast edited English subtitles for Anatomy of a New Yorker cartoon |