The Graphic

The Graphic

The Graphic was founded in December, 1869 by William Luson Thomas, a wood-engraver who believed that illustrations had the power to influence public opinion on political issues. He later recalled: "The originality of the scheme consisted in establishing a weekly illustrated journal open to all artists, whatever their method, instead of confining my staff to draughtsmen on wood as had been hitherto the general custom… it was a bold idea to attempt a new journal at the price of sixpence a copy in the face of the most successful and firmly established paper in the world, costing then only fivepence."

Thomas recruited a team of gifted artists including Luke Fildes, Hubert von Herkomer, Frederick Walker, Frank Holl, Arthur Boyd Houghton, John Millais, Frederic Leighton, Lawrence Alma-Tadema and William Small. When it was first started, the journal was produced in a rented house. However, by 1882 the company owned three buildings, twenty printing machines and employed over 1,000 people. The Christmas edition, printed in colour and costing a shilling, was particularly popular, selling over 500,000 copies in Britain and the USA.

William Luson Thomas was fully committed to social reform and he hoped that these visual images would have a political impact on the reading public. His biographer, Mark Bills, has argued: "The format of the paper offered artists an unprecedented opportunity to explore social subjects, and its images of poverty made it a catalyst for the development of social realism in British art. Many of the wood-engravings which it featured were developed into major paintings." This included Luke Fildes's Houseless and Hungry, which appeared in the first edition of The Graphic.

Hubert von Herkomer wrote: "Mr. Thomas opened its pages to every phase of the story of our life; he led the rising artist into drawing subjects that might never have otherwise arrested his attention; he only asked that they should be subjects of universal interest and of artistic value. I owe to Mr. Thomas everything in my early art career. Whether it was to do a twopenny lodging-house for women in St. Giles', a scene in Petticoat Lane, Sunday morning, the flogging of a criminal in Newgate Prison, an entertainment given to Italian organ grinders, it mattered little. It was a lesson in life, and a lesson in art. I am only one of many who received these lessons at the hands of Mr. W. L. Thomas."

England's leading newspaper, The Times, argued that "William Luson Thomas did more … than improve illustrated journalism, he influenced English art, and that in a wholesome way." Another newspaper described him as "Fair-bearded till time and hard work silvered his hair… Mr. Thomas was a true gentleman - one, indeed, of Nature's noblemen."

In 1889 Thomas and his company, H. R. Baines and Co, began publishing the first daily illustrated newspaper, the Daily Graphic. After William Luson Thomas died in 1900, his son, Carmichael Thomas, ran the company.

Artists employed on the Graphic and Daily Graphic at the end of the 19th century and the early part of the 20th century included Sidney Sime, Alexander Boyd, Frank Brangwyn, Edmund Sullivan, Phil May, Leonard Raven-Hill, George Stampa, James H. Dowd, Bert Thomas and F. H. Townsend.

Only ten years ago, if an event suitable for pictorial illustration occurred on that Saturday, it was considered sharp work to sketch, draw on wood, engrave, electrotype, and print the subject to be illustrated for the issue of the following Saturday. By improved machinery it has become possible to illustrate an event happening on the Tuesday of the same week, and now we propose, by the aid of the new electro-dynamo machines, to save many hours in electrotyping, and so be able to give our latest news pictures up to Wednesday.

It is not too much to say that there was a visible change in the selection of subjects by painters in England after the advent of The Graphic. Mr. Thomas.


The Cambridge History of the Graphic Novel

This book has been cited by the following publications. This list is generated based on data provided by CrossRef.
  • Publisher: Cambridge University Press
  • Online publication date: July 2018
  • Print publication year: 2018
  • Online ISBN: 9781316759981
  • DOI: https://doi.org/10.1017/9781316759981
  • Subjects: Literature, Literary Theory, English Literature after 1945
  • Collection: Cambridge Histories - Literature

Email your librarian or administrator to recommend adding this book to your organisation's collection.

Book description

The Cambridge History of the Graphic Novel provides the complete history of the graphic novel from its origins in the nineteenth century to its rise and startling success in the twentieth and twenty-first century. It includes original discussion on the current state of the graphic novel and analyzes how American, European, Middle Eastern, and Japanese renditions have shaped the field. Thirty-five leading scholars and historians unpack both forgotten trajectories as well as the famous key episodes, and explain how comics transitioned from being marketed as children's entertainment. Essays address the masters of the form, including Art Spiegelman, Alan Moore, and Marjane Satrapi, and reflect on their publishing history as well as their social and political effects. This ambitious history offers an extensive, detailed and expansive scholarly account of the graphic novel, and will be a key resource for scholars and students.

Reviews

'… undoubtedly one of the great books of the year is [The] Cambridge History of the Graphic Novel (CUP, £125), a fabulously learned volume containing essays on everything from Little Nemo and The Silver Surfer to punk comics, Joe Sacco, LGBTQ comics and 'E-Graphic Novels'.'

Tim Martin Source: The Spectator

'… an important addition to the scholarship on graphic literature, this volume will immediately be a foundational resource for all serious students of the genre. Essential. Upper-division undergraduates through faculty and professionals general readers.'

M. F. McClure Source: Choice

‘The Cambridge History of the Graphic Novel is an ambitious and wideranging collection … The essays in this volume are individually excellent, and the narrative that emerges across the chronological sections proves rewarding for readers prepared to tackle this behemoth from cover to cover … In sum, this is an accessible and energetic volume that will primarily be of interest to scholars and students working in American studies, comics studies, literary studies, and related fields.’


Лучшие отзывы о курсе IDEAS FROM THE HISTORY OF GRAPHIC DESIGN

Its been a great course, many info and points that are fantastic in the learning or adding new knowledge always. I will always recommend this course for those who want to know more and learn design.

Loved it and all the examples the teachers put into it, as well as the organization and evolution of themes. Big thank you to the teacher ladies. I learned a lot and enjoyed the lessons very much.

I enjoyed this course--it gives a useful and broad overview of Graphic Design, discussing artists in historical contexts as well as unpacking some of the philosophies that informed their work.

The content of the course is very interesting, it helps you understand the evolution of image making processes and its cultural influence. Ps: The audio of the videos was a little bit low.



The Middle Ages: A Graphic History

The Middle Ages: A Graphic History busts the myth of the 'Dark Ages', shedding light on the medieval period's present-day relevance in a unique illustrated style.

This history takes us through the rise and fall of empires, papacies, caliphates and kingdoms through the violence and death of the Crusades, Viking raids, the Hundred Years War and the Plague to the curious practices of monks, martyrs and iconoclasts. We'll see how the foundations of the modern West were established, influencing our art, cultures, religious practices and ways of thinking. And we'll explore the lives of those seen as 'Other' - women, Jews, homosexuals, lepers, sex workers and heretics.

Join historian Eleanor Janega and illustrator Neil Max Emmanuel on a romp across continents and kingdoms as we discover the Middle Ages to be a time of huge change, inquiry and development - not unlike our own.


Graphic Novels About History Bring Past Events to Life in a More Intimate Way

Do you have any favorite graphic novels about history? Tell us below. Seriously – I could always use more titles to assign my students.

(Featured Image: The Black Panther Party: A Graphic Novel History, Ten Speed Press)

Roman Colombo finished his MFA in 2010 and now teaches writing and graphic novel literature at various Philadelphia colleges. His first novel, Trading Saints for Sinners, was published in 2014. He's currently working on his next novel and hoping to find an agent soon.


Constant evolution: Understanding graphic design today

It’s safe to say that the history of graphic design has been a long and complicated one. Graphic designers have come a long way since they were scratching pictures onto cave walls. Today, we’ve honed the artistry of combining image and text into something that can project experiences and ideas to broad categories of people.

Graphic design is one of the most important forms of communication any business can invest in. It can be applied to something as simple as a smartphone app, or something as complex as an entire brand identity. While the nature of graphic design might have changed over the years, the underlying aim remains the same. Today, just as they always have, graphic designers give their clients a different way to speak to their audience.

As the technology we have access to continues to evolve with things like virtual reality, augmented reality, and more, there’s no doubt that modern graphic design will continue to change. However, in a world that’s governed by user experience, the artists that know how to use imagery and text to convey emotion and connect with their audience should be prepared to time-proof their techniques.

What do you think about the evolution of graphic design? What’s your favourite style, and where do you think we’re headed? The development of the design world might be a complex thing, but it’s a journey we love being a part of here at Fabrik. We’d like to hear your thoughts…


History of Graphic Novels

Graphic Novel has a long, and interesting history. As we know, people have been telling stories through illustration for very long time. The exact definition of graphic novel and the origins are open to discussion. We may predict how Ancient Egyptians and other civilizations used hieroglyphs, illustrations to communicate each other and for record managements. The purposes of the drawings were to allow working class and other popularities to send and receive the messages without knowing the language.

As the technology developed, the machines were able to mass-produce everything in short period of time which lead for people to have more free time. During their leisure time, people started to read the newspaper comic strip. Comic strip became popular and sold a lot of newspapers. Max Gaines,1934, have began to arranged little full-color magazines of only newspaper comic strip and sold in droves, stores and newsstands. These new style book, comic books, became so popular, there were no enough comic strips. The longer version of comic strip over several pages were created and built into the comic strip. In 1937, the comic book stepped out from the comic strip by creation of Super-man. Superman brought the comic book of its first original breakout character but also in a genre that wasn’t seen in anywhere else which it affect on the culture a lot.

Overseas

While both American and European adventure comic strips had a long story lines, the European strips were being collected into book volumes. These books were kept in print, where the American comic books were short lived. The tales of Belgian hero, Tintin, has been reprinted by many generations and these reprinted albums became important than the original newspaper or magazine printings. Cigars of the Pharaoh and The Blue Lotus form one two-part adventure from The Tintin albums are considered as a turning point in the Tintin series. American comic creators wanted the respect that the European cartoonists were getting and to present their work in aesthetically appealing condition, to tell full stories, and to get the saleshowever, all of these took long time for these wishes to come true.

American Graphic Novel Revolution!

In the 1970s, the term “Graphic Novel” began to appear in American comic book circles. The comics historians argued to determined which is the first one that truly qualifies as being called a graphic novel. With many arguments, there are one novel that all the comics historians agreed upon, “A Contract with God and Other Tenement Stories“,which were created by Will Eisner in 1978. Will Eisner were in his sixties when the book was published, and he had been working on comics form over four decades. He created a comic book insert for newspapers featuring his detective superhero The Spirit in the 1940s.

Graphic Novels were always the next hit-item but not the current. It had the slow growth and when The New York Times featured the graphic novel in their newspaper, it finally made it to the top. It was graphic novel adaptation of the movie, Alien, by a master writer Archie Goodwin and with artist named Walter Simonson. Since then, many of the publishers started to putting out more graphic novels, including movie, science fiction novel adaptations.

Marvel Comics and DC Comics, the major superhero comics publishers, announced graphic novel lines. The first graphic novel released by Marvel was introduced by killing off one of their characters from The Death of Captain Marvel and announced headline as “Death of Captain Marvel Delayed Due to Accident” to attract people into their new lines.

Most notable collections are:

  1. Batman: The Dark Knight Returns by Frank Miller
  2. Watchmen by Alan Moore and Dave Gibbons
  3. ElfQuest by Wendy and Richard Pini.

The Title Wave

As the 20th century faded away and 21st century zoomed into place, the changes within the graphic novel had been arise.

  • Neil Gaiman’s Sandman series became a hit in the bookstores, selling far more copies collected as graphic novels than it had sold in comic book form. This led the color comics publishers to start design more comics with the book collections.
  • Lots of comics were turned into movies, for example, X-Men and Spider-Man. Mainstreaming bookstores wanted to carry graphic novels related to these films, as well as the graphic novels that may become next hollywood hit.
  • Manga, Japanese comics, became popular with people who weren’t interested in American comics.

Graphic Novels , Today

In 2002, American consumers purchased approximately $100 million on original graphic novels and book collections of comic books. Graphic novels are now shipped to foreign countries, translated into other languages, and often generated additional money from being licensed to Hollywood.

The Future Market

Graphic novels are getting more popular even though the sales of the most books are shrinking. As the graphic novel became the standard part of pop culture, they are investing new and varied venues. It would be possible to see graphic novels in CD-ROM and sell in video stores.


By Emily Shaw

Photos of Graphic students from various years appear behind the letters taken from old editions that make up the name of the student newspaper. The Graphic has been around for about 84 years since 1937, when George Pepperdine College began its first semester. Photos courtesy of Pepperdine Libraries Special Collections and University Archives Commons

Graphic by Ali Levens

Although the Graphic newsroom in the Center for Communication and Business building lies mostly empty, the space holds a long, meaningful history of students dedicated to providing news for their community.

Former editors, a former adviser and a current adviser of the Graphic share the challenges and accomplishments they experienced they discuss Pepperdine’s history of student publications, the relationship between the paper and its audience and journalistic principles, providing a glimpse the inner workings of the student news organization.

“It’s a lab in the sense that it’s OK to make mistakes, and you have kind of this umbrella of protection, so you’re not totally just jumping into something scary unprotected,” Pepperdine and Graphic alumna Falon Barton (2015) said. “But at the same time, it’s a real job with real tangible consequences with real tangible results.”

The Birth of the Graphic

On Oct. 30, 1937, the “GraPhiC” — reflecting the initials of George Pepperdine College through its capitalization — published its first edition.

It listed three individuals as part of the staff: Editor Bobby King, Business Manager Mac B. Rochelle and Faculty Adviser Hugh M. Tiner.

The following bullet points are the objectives of the Graphic at the time of its first edition, which come directly from the Graphic’s first print issue:

  • To reflect in an unbiased manner the campus news and such outside news as appears especially related to the college.
  • To help anything that helps George Pepperdine College.
  • To give religion a prominent place in these columns.
  • To help build up college athletics and all other beneficial extra-curricular activities.
  • To encourage sound scholarship.
  • To help build school tradition.
  • To offer constructive criticism, and to give praise where due.
  • To represent what we believe to be the best standards in college journalism.

Students could obtain an annual subscription to their weekly campus news by mailing $1 to the Graphic.

The first issues contained a News section, editorial page and Sports section, including many stories about the college’s firsts such as a record of the college’s first week, the first weekly fellowship forum, the first track team and the first chorus and orchestra rehearsals.

“It is all-important that those who are here now shall realize that they make up the small stream that is shaping the course of the mighty river,” the Graphic staff wrote in its first edition. “It is so very important that each one here appreciate the part he must play in the molding of this school in its infancy.”

The front page of the Graphic’s first edition, published Oct. 1937, covers the launch of George Pepperdine College’s first semester. The Graphic is Pepperdine University’s oldest student organization and has evolved since then, while staying true to its original mission to inform the Pepperdine community. Photo courtesy of Pepperdine Libraries Special Collections and University Archives

Other Student Publications on Campus

While the Graphic has always been Pepperdine’s dominant news source on campus, other publications have appeared to serve different needs of the Pepperdine community over the years.

Due to an unknown conflict between the Graphic and the Association for Black Students during an ABS meeting in 1968, the Graphic suspended its Nov. 21 issue, which led some Black students to start their own newspaper, the Black Graphic. There are only three known publications of the Black Graphic.

In spring 1969, the Black Graphic wrote about Larry Kimmons’ death and the University’s response, the perspective of an Asian American student involved with the Black Graphic, the importance of teaching Black studies and the phenomenality of African American women, among many other topics. The Graphic also covered the death of Kimmons but not to the extent that the Black Graphic did.

In a 1969 newsletter, the Black Graphic wrote to Black Student Union members that they created the Black Graphic to amplify the voices of Black students.

“This media will serve the function of providing us Black Students with details of real happenings from the too real world….. [sic] as they relate to Black people,” the Black Graphic wrote. “This paper is not intended for those who are cowardly of heart, weak of mind, frail of body or sick of stomach. Although some of the material used in these pages may seem harsh, it is aimed at the liberation of the oppressed mind from the enemy — the racist pig.”

The Black Graphic publishes a newsletter in 1969 that contains an open letter to the Black Student Union about the purpose of the student publication. The Black Graphic published its first edition Nov. 25, 1968. Photo courtesy of Pepperdine Libraries Special Collections and University Archives

In 1972, Pepperdine opened the Malibu campus, and the Graphic relocated there. In the Graphic’s place, students remaining on Pepperdine’s LA campus started another student newspaper, the Inner View.

The Inner View, advised by Clint Wilson, provided news covering not just Pepperdine but also the surrounding LA community. While separate from the Graphic, the newspaper is a part of the history of Pepperdine student publications and supported the role of student journalists at the University.

The LA campus distinguished itself from the one in Malibu by embracing its urban location. In the first edition of the Inner View, the staff wrote an editorial titled “Urban newspaper” about the newspaper’s debut and the LA campus’ adoption of a new urban identity.

“The unveiling of the Inner View marks a new dimension for the fall at the Los Angeles Campus,” the Inner View staff wrote. “No longer will this campus be thought of as ‘the small, quiet campus on 79th St.'”

The front page of the first edition of the Inner View depicts a keyhole showing a photo of the administrative building at Pepperdine’s LA campus. The student newspaper began publishing in 1972 when the Graphic relocated to the new Malibu campus and came to end in 1976. Photo courtesy of Pepperdine Libraries Special Collections and University Archives

Covering the Surrounding Community

In 1972, the Inner View also interacted with the surrounding community, while focusing primarily on covering news affecting the LA campus.

After the Graphic moved to Malibu, Wilson said many of the juniors and seniors wanted to stay in Los Angeles and form the Inner View because of their pride in the LA campus and desire to cover the bustle of the city.

“They saw it as quite a journalistic challenge to cover the campus, as it was evolving in Los Angeles and in terms of working on covering the inner city,” Wilson said.

Wilson said he and others also revised the journalism curriculum and called it the Urban Journalism program, reporting on in-depth stories and taking on topics such as poverty and homelessness.

“The students really loved it,” Wilson said. “They just felt that it was a program that was preparing them for the real journalism world.”

During the Graphic’s 84-year history at Pepperdine, the paper and its connected publications remained committed to serving the Pepperdine and surrounding communities.

While serving as reporter and editor of the Graphic, alumnus Tal Campbell (1961) also worked as an LAPD reporter at a newspaper in Los Angeles called Angeles Mesa News. Campbell said it was common for Graphic staff to work part-time for other local newspapers in the area.

In its 46th edition, published Feb. 14, 1969, The Malibu Times features a photo of Larry Averill of the Union Federal Savings and Loan holding a special issue of the Graphic, which tells of Pepperdine’s proposed new Malibu campus. The Graphic relocated to the Malibu campus in 1972, which prompted students in Los Angeles to form the Inner View. Photo courtesy of The Malibu Times

Changing with the Times

Moving forward to 2012, Pepperdine and Graphic alumni Nate Barton (2016) and Falon Barton each joined the Graphic as first-year students.

Now married, the Bartons said they both loved the community and sense of belonging they had at the Graphic. Falon Barton held multiple positions, including News editor, managing editor and Advertising director, and Nate Barton worked as creative director and executive editor, as well as other positions.

In 2014, the Graphic published its “Sex Issue” special edition. Special editions are issues of the Graphic that feature in-depth reporting on a topic or theme relevant to the community. This 2014 edition tackled a rather controversial topic, especially at Pepperdine — sex.

The Graphic staff had many thoughtful debates and conversations about the sex edition when putting it together, Falon Barton said, as she was managing editor at the time of the edition’s publication.

“One of our really good friends used the sex edition of the Graphic to come out as gay, and that was a big moment,” Nate Barton said. “It was really an honor to be a part of that.”

Elizabeth Smith, Journalism professor, Pepperdine Graphic Media director and faculty adviser to the Graphic, said the “Sex Issue” reflected a sentiment that things were changing socially on Pepperdine’s campus, especially with a bigger, more vocal push for an official LGBTQ+ student club.

Despite the controversial nature of the topic, Falon Barton said they did not receive any harsh or negative feedback.

The front page of the “Sex Issue” of the Graphic features the Dolores statue that stands near the Tyler Campus Center on Pepperdine’s campus. The Graphic published the “Sex Issue” in 2014. Photo courtesy of the Graphic

Another major change for the Graphic was the shift to a digital-first model in the 2010s. “Digital first” is the idea of publishing content online first and then moving some of the stories into print editions.

Smith said the transition was two-fold: wanting students to get a more professional newsroom experience and wanting to better serve the audience by making content accessible online in a timely manner.

“Part of the reason why we do ‘digital first’ was because that’s where the industry was going,” Nate Barton said. “We’re trying to train the next generation of journalists.”

Falon Barton said becoming digital first also helped streamline things to be more efficient.

Today, a sign that reads “digital first, story first, audience first” hangs in the trophy case in the Graphic newsroom.

In the Graphic newsroom, a sign that reads “Audience First, Story First, Digital First” hangs in the trophy case. The Graphic shifted to a digital-first model in the 2010s in an effort to make content accessible online for its audience. Photo by Elizabeth Smith

Part of Pepperdine, Not Run by Pepperdine

Although the Graphic is a news organization at Pepperdine and is not financially independent, it is student-run and editorially independent from the University.

While Campbell was editor of the Graphic, the organization was self-supporting through its advertising sales, which he credits to the advertising director at the time.

“We never cost the University a dime,” Campbell said. “I was so proud of that.”

Campbell’s year as editor was atypical. The Graphic has received funding from Pepperdine through various means throughout the years. Smith said although the University partially funds the organization, the administration does not have a say in publications.

In providing essential news, student publications have had varying interactions with University leadership.

Campbell said during his time at the Graphic, the paper had an amicable relationship with administration, as Campbell knew President Norvel Young personally before becoming a student.

“When anything between the newspaper and the administration occurred, I would get a call,” Campbell said. “If I had to go to the office, I knew it was serious. If it’s on the phone, it was no big deal. I can hardly even remember the issues, but it was kind of fun to have that access to him.”

The Inner View, however, did not escape backlash from administration during its short tenure on campus. For instance, the Inner View would often include advertisements of local businesses — a notable example being a nightclub called Whiskey A Go Go — that would receive criticism from administration, Wilson said.

“Those are the kinds of things you have to be very careful even unknowingly that they would object to, would call me in, so there were things like that that you wouldn’t normally think twice about,” Wilson said. “But they were very sensitive at the administrative level. So it was a very, very conservative environment.”

Smith said the Graphic today has an advertising policy that does not accept advertisements from bars, night clubs or other businesses that promote alcohol or drugs.

Wilson said the administration during his time as adviser also frowned upon the newspaper from reviewing certain movies.

“We’re not talking about X-rated movies we’re just talking about regular theatrical releases,” Wilson said. “And word would get back that the administration is upset about this movie, and [say], ‘We don’t advise or recommend our students go see those kinds of movies.’”

Wilson said, in his role as adviser, he had to find a balance between protecting students from administrative backlash and not acting as a censor.

“You’re operating in an environment where the parameters are narrower than in other places, so it was a very interesting time,” Wilson said.

There were certain things not worth “going to the mat” over, but there were also stories that were worth standing one’s ground on, Wilson said.

One story, in particular, involved Norvel Young, Pepperdine’s third president and chancellor at the time, getting into a car crash. While driving under the influence, he got into an accident that killed two women Sept. 16, 1975, according to an LA Times article.

One of the administrators called Wilson and told him the Inner View could not run the story about the crash, Wilson said. Pepperdine’s fourth president William Banowsky also threatened to fire Wilson if he didn’t pull the article.

“He said something to the effect — this is Banowsky — that ‘Well, I don’t need to tell you what will happen if you run this story,’” Wilson said. “And I said, ‘Well, I’m prepared for that.’”

Wilson said he told the Inner View editor to publish the story because of his and the paper’s commitment to journalistic integrity.

The Graphic, on the other hand, did not run the story, Wilson said.

“As a consequence, from the standpoint of professional journalists in the area, the fact that the Graphic did not have the story, and we had the story in the Inner View, and everybody else in the United States had the story, made the Graphic look very bad,” Wilson said.

The Inner View set a precedent for Pepperdine student publications through its commitment to journalistic integrity, emphasizing the administration does not have a say in student-run news organizations.

In more recent controversy, the Graphic published a story on alleged hazing within Pepperdine’s Water Polo team in 2016 that received attention from administrators.

“We were treated like journalists, and an administrator came and kind of had some thoughts for us and sat Falon down and was very upfront about those thoughts,” Nate Barton said.

Falon Barton said although the conversation was serious, she thinks it was a productive and respectful one, and she and the administrator became friends after.

In 2012, when LA County Sheriff’s Deputies arrested President Andrew K. Benton’s son after alleged threats against his family, Smith said the Graphic decided to publish the story the next day because the staff did not want to publish anything until they could confirm the information.

The Graphic often reports stories that University administration might not like, but much of Smith’s ethos as an adviser is to ensure the Graphic is never inaccurate, illegal or unethical in its reporting, Smith said. In the event of missteps, the Graphic will be transparent about it by publishing corrections or updates.

Falon Barton said she felt very grateful to have Benton as part of the administration during her time at the Graphic, especially after hearing stories of what other college newspapers endured from their administration.

“He responded to every email we shot an email, and he would always respond to us — just spectacular and phenomenally supportive of student journalism at Pepperdine,” Falon Barton said.

Benton shared with Smith how the Graphic’s careful reporting on the situation with his son gave him new insight into student journalism. Smith said she thinks it showed him that the Graphic wasn’t out to get him but rather out to do a job and do it well and with ethics.

Campbell said the Graphic gave him the background of making a newspaper of interest and of value to its audience. What kept him going was knowing there were always better ways of getting the word out and keeping the community informed.

Especially when he wrote for News, Nate Barton said he felt a strong sense of duty to inform.

“I think there is something really unique about working for a newsroom — working for the Graphic, specifically — that I got work experience and life experience and relational experience,” Falon Barton said.

Smith said she thinks the Graphic’s present readership is strong, especially now, because many people look to the Graphic for information first.

For example, in fall 2018, the Graphic covered a nearby shooting at Borderline Bar and Grill in Thousand Oaks and the Woolsey Fire.

“During the Borderline shooting and the Woolsey Fire, we were truly the only news that was coming out from inside the Woolsey Fire,” Smith said. “The media couldn’t get in and out, and so that that was a moment where we were very aware that every word we were putting out about this, the world was watching.”

Editor’s Note: If interested in reading publications of the Black Graphic, you may reach out to Pepperdine Libraries Special Collections and University Archives.


The Graphic - History

I've read a lot of Beat books in my time here at City Lights, but none are quite as fun as this graphic history. The perfect collection for those who think they've heard all the stories about Kerouac, Burroughs, Ginsberg, et al. The Beats also provides portraits of lesser-famed artists and writers of the movement. —Recommended by Stacey, City Lights Publishers

In The Beats: A Graphic History, those who were mad to live have come back to life through artwork as vibrant as the Beat movement itself. Told by the comic legend Harvey Pekar, his frequent artistic collaborator Ed Piskor, and a range of artists and writers, including the feminist comic creator Trina Robbins and the Mad magazine artist Peter Kuper, The Beats takes us on a wild tour of a generation that, in the face of mainstream American conformity and conservatism, became known for its determined uprootedness, aggressive addictions, and startling creativity and experimentation. What began among a small circle of friends in New York and San Francisco during the late 1940s and early 1950s laid the groundwork for a literary explosion, and this striking anthology captures the storied era in all its incarnations—from the Benzedrine-fueled antics of Kerouac, Ginsberg, and Burroughs to the painting sessions of Jay DeFeo's disheveled studio, from the jazz hipsters to the beatnik chicks, from Chicago's College of Complexes to San Francisco's famed City Lights bookstore. Snapshots of lesser-known poets and writers sit alongside frank and compelling looks at the Beats’ most recognizable faces. What emerges is a brilliant collage of—and tribute to—a generation, in a form and style that is as original as its subject. Harvey Pekar is best known for his graphic autobiography, American Splendor, based on his long-running comic-book series that was turned into a 2003 film of the same name.

Paul Buhle is a senior lecturer at Brown University. A School Library Journal Best Adult Book for High School Students


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