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(CNN) -- Racist, unfunny, hilarious, confusing, lame.

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A New York Post cartoon has sparked a debate over race and cartooning this week.

Reactions are as varied as they are strong to Tuesday's New York Post cartoon that depicted the police shooting of a chimpanzee. Two police officers, one with a smoking gun, are near the chimp's bullet-pierced body. 'They'll have to find someone else to write the next stimulus bill,' one officer says.

The Post's Sean Delonas used a typical editorial cartoon trope of linking two current news stories: the shooting of a chimp after it mauled a Connecticut woman and President Obama's signing of the stimulus bill.

But soon after the issue hit newsstands, the Rev. Al Sharpton, and other black opinion makers such as CNN's Roland Martin, blasted the cartoon as an attack on Obama's skin color and African-Americans in general.

'Being that the stimulus bill has been the first legislative victory of President Barack Obama and has become synonymous with him, it is not a reach to wonder: Are they inferring that a monkey wrote the last bill?' Sharpton said.

Jelani Cobb, a Spelman College history professor and the author of a forthcoming book about Obama, told CNN that the cartoon offended on many levels. iReport.com: Chimp cartoon 'very, very wrong'

Don't Miss

• Sharpton criticizes Post cartoon
• Martin: NY Post cartoon is racist and careless

He winced at the cartoon's gun violence as a stoker to the nervousness some feel about the safety of a black president in a historically racist country.

'When I looked at it, there was no getting around the implications of it,' Cobb said. 'Clearly anyone with an iota of sense knows the close association of black people and the primate imagery.'

Dozens of cartoonists weighed in on dailycartoonist.com. Some said it was a simpleton move to use the tired metaphor of a monkey to make fun of something -- no matter what it was. One poster wrote, 'Wha..?' pointing out that Obama didn't write the stimulus package; lawmakers did.

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On the cartoon 'danger scale' of 1 to 10, the chimp cartoon scored a 9, Dilbert creator Scott Adams told CNN.

Adams liked the cartoon, but judging its overall worthiness is difficult, a gauge best measured by an audience, not the cartoonist, he said.

'Any cartoon has to be a little bit dangerous, and he's definitely achieved that,' he said. 'You have to perceive that the cartoonist is in personal danger or there's something dangerous about it, that at the cartoonist's next cocktail party, half of the people there are going to want to poison his drink.'

Just like George Carlin's seven dirty words, there are also no-no's for cartoons, Adams said. 'He's got everything you shouldn't have,' he said. 'Gunfire, that's the one thing you cannot get away with. And then he's got violence against animals, also a pretty big no.'

New York Post editor Col Allan referred calls to a public relations representative, who sent CNN.com this statement: 'The cartoon is a clear parody of a current news event, to wit the shooting of a violent chimpanzee in Connecticut. It broadly mocks Washington's efforts to revive the economy. Again, Al Sharpton reveals himself as nothing more than a publicity opportunist.'

Delonas was not giving interviews, the PR rep told CNN.

If there is any apology due, it shouldn't come from the cartoonist, insisted Ted Rall, the president of the Association of American Editorial Cartoonists, whose cartoons run in 100 publications across the United States.

An editor should object if there is a strong possibility that a cartoon will not resonate the way the cartoonist wanted, he said. Cartoonists have to be free to be creative, to not edit themselves during the drawing process.

'He was trying trying to jam two stories together, and unfortunately, this is what a lot of lame editors like,' Rall said. 'The comparison he had in mind: The guy who wrote the package wasn't Obama; it was a bunch of white economic advisers, and he [Delonas] wasn't thinking about Obama.'

The Post cartoonist, he added, has the misfortune of working in a business that, over the past decade, has become a graveyard of gag jokes. A former editor once told Rall that satire in cartooning died after September 11.

'I have to wonder about the competence of his editors,' Rall continued. 'It goes with the 'make it shorter and dumber' mentality that's happening in print.'

But later Thursday the New York Post apologized in a statement on its Web site, although they also defended its action and blasted some detractors.

'Wednesday's Page Six cartoon -- caricaturing Monday's police shooting of a chimpanzee in Connecticut -- has created considerable controversy,' the paper said.

The Post said the cartoon was meant to mock what it called an 'ineptly written' stimulus bill. 'But it has been taken as something else -- as a depiction of President Obama, as a thinly veiled expression of racism,' reads the statement. 'This most certainly was not its intent; to those who were offended by the image, we apologize.'

But the statement immediately swerves to fire back at some of the image's critics. 'However, there are some in the media and in public life who have had differences with The Post in the past -- and they see the incident as an opportunity for payback,' the statement says. 'To them, no apology is due. Sometimes a cartoon is just a cartoon -- even as the opportunists seek to make it something else.'

Cartoonist John Auchter of the Grand Rapids Business Journal in Michigan said Delonas had to expect people to be offended.

'The racial connotation of what he drew, it's really silly that either he or his editors couldn't anticipate that [reaction],' Auchter said. 'When I think about all the things that are thrown around here with the accusations of being racist .. that is one of the things as a cartoonist you have to be aware of -- what you're doing and that you know things are going to be taken that way. You are the first-line editor.'

Syndicated political cartoonist Chip Bok didn't find the Post cartoon racist, but he said it probably was in bad taste.

'A woman was terribly mauled and almost killed,' he said. 'That's really the only grounds by which [my editors] would throw out a cartoon. When it involves somebody's life like that, I would tend to stay away from it.'

Bok knows a little about what it feels like to create a polarizing cartoon. In 2006, around the time of the Danish Mohammed cartoon controversy, the Akron Beacon Journal published a cartoon he drew showing a blurred picture of Mohammed on CNN.

The cartoonist had been watching the network cover the story about Muslim anger over the Danish cartoons, which showed the prophet with a bomb crafted out of his turban. Bok was upset that CNN had chosen to blur the cartoon in its coverage.

The cartoonist immediately drew his cartoon, which showed a couple watching TV and saying, 'Well, no wonder Muslims are upset. Muhammad looks like he's on acid.'

'I was inundated with e-mail, the paper was picketed,' he said. 'There was quite a reaction.'

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All AboutRacism and Bigotry • Barack Obama • Economic Stimulus

Daniel Edward Antonucci (/ˌæntəˈnuːtʃi/,^[1]Italian: [antoˈnuttʃi]; born February 27, 1957) is a Canadian animator, director, producer, and writer. Antonucci is known for creating the Cartoon Network animated comedy series Ed, Edd n Eddy. He also created Lupo the Butcher, Cartoon Sushi, and The Brothers Grunt.

Antonucci dropped out of the Sheridan College of Visual Arts to take a job as an animator at Hanna-Barbera, where he worked on a number of series, including Fables of the Green Forest, The Flintstone Comedy Show, Scooby-Doo and Scrappy-Doo, The Smurfs, and Richie Rich. He continued his career in Vancouver, where he worked on animated shorts and television commercials for International Rocketship Limited, and created his first solo work, the animated short Lupo the Butcher. At MTV, he worked on a number of commercials, his series The Brothers Grunt, and the animation showcase program Cartoon Sushi, which he co-created with Keith Alcorn. He went on to create Ed, Edd n Eddy for Cartoon Network. In 2008, Antonucci signed to the now-defunct WildBrain.

Throughout his career, Antonucci won a number of awards. Many of his commercials for Converse, ESPN and Levi's won a number of awards. Lupo the Butcher was a successful short and is considered to be a cult classic.

Early life[edit]

Antonucci's parents were Italian immigrants to Canada. His experiences as a child in an immigrant family deeply influenced his later work, such as Lupo the Butcher.^[2]

Antonucci attended the Sheridan College of Visual Arts but quit to take a job as an animator^[3]at Canimage Production, a division of Hanna-Barbera.^[4]

Career[edit]

Starting his career as an animator, Antonucci worked on numerous shows, including The Flintstone Comedy Show,^[4]Scooby-Doo and Scrappy-Doo, The Smurfs, and Richie Rich.^[5]

Intending to move to Los Angeles in 1984 to find more work, Antonucci landed in Vancouver, British Columbia. He landed a job at International Rocketship Limited, animating short films and television commercials. His first effort was on the short film Hooray for Sandbox Land.

International Rocketship Limited, foundation of a.k.a. Cartoon, and MTV work[edit]

Antonucci's first solo work was Lupo the Butcher, produced by International Rocketship Limited, about a short-tempered butcher who swears at the meat he is cutting and gets extremely mad at the smallest mistakes. Antonucci says the short arose out of his own frustration at having to work in children's film for so long, and to try his hand at creating a full-fledged character on film. The short animated film screened at several film festivals, including Spike and Mike's Sick and Twisted Festival of Animation in the United States.

The 'Lupo' character was eventually licensed by the Converse athletic shoe company. This led to additional work, including animated commercials for Levi Strauss & Co. and MTV. He also originally created a mascot for Cartoon Network, known as the jester, as well as the mascot's bumpers.

On April 1, 1994, Antonucci started an animation company named a.k.a. Cartoon, which produced the short-lived MTV series The Brothers Grunt, which began airing in 1994 and ended its run in 1995. Antonucci went on to work on MTV's Cartoon Sushi show in 1997, directing, writing and providing voices, in addition to being responsible for the title sequence of the show.

Ed, Edd n Eddy[edit]

Feeling confined to 'gross' and 'edgy' work, such as his series The Brothers Grunt, Antonucci decided to produce an animated children's television show again with his company a.k.a. Cartoon.^[6] He resolved, however, to ensure that the series was produced in a way similar to the cartoon styles from the 1940s to the 1970s.^[6] Antonucci spent months designing the show, before trying to sell it to Nickelodeon. Nickelodeon told him that they would take the show, if they also obtained creative control. Antonucci refused to give it, and instead took the show to Cartoon Network. A deal was ultimately made for Cartoon Network to commission the show, after they agreed to let Antonucci go in his own direction.^[6]

Antonucci is a strong advocate of hand-drawn animation. The wobbling animation in Ed, Edd n Eddy is an homage to the hand-drawn cartoons with a style that harkens back to cartoons of the 1940s to the 1970s.^[6] To give the impression of movement, Ed, Edd n Eddy uses shimmering character outlines similar to Squigglevision.^[7] The crawling lines are not nearly as active as those in Dr. Katz, Professional Therapist, but are still visible,^[7] and Antonucci likens it to cartoons of the 1930s.^[6]

According to Antonucci, the characters were based on real people in his life. The personalities of Ed, Edd, and Eddy are based on personal traits of himself, and the activities of his two sons.^[8] The Eds also possess personality traits similar to The Three Stooges, whose money-making schemes and antics also invariably backfire.^[9] The cul-de-sac children and the Kanker Sisters were all based on children he grew up with. Antonucci also stated that he believed it was important to add Plank, a board of wood, to the show, stating that he 'thought it would be really cool to do the show with Plank taking on a character of his own' and to cause Jonny to do things he would usually never do. He also stated that Rolf is strongly based on himself and his cousins, since he was part of an immigrant family, and grew up in a first-generation foreign household with different customs and ways of living.^[8]

Ed, Edd n Eddy is the only A.k.a. Cartoon show to have a movie based on the animated television series. The series' finale movie, Ed, Edd n Eddy's Big Picture Show, aired on November 8, 2009, officially ending the series.^[10] However, reruns continued to air on the network until July 1, 2011. On March 30, 2012, the series received another opportunity to air re-runs on the revived block Cartoon Planet.^[11]

WildBrain and upcoming series[edit]

While Antonucci was working on Ed, Edd n Eddy's Big Picture Show, it was announced on September 4, 2008 that he signed to WildBrain; Antonucci stated that he was 'already kicking around three different ideas for his first WildBrain project'.^[12] On June 11, 2013, animator Joe Murray posted a short interview with Antonucci for his class on his website, and on the end wrote: 'He's currently working on a new series, so rock on.'^[13]

Awards and nominations[edit]

Antonucci's first solo work Lupo the Butcher was a successful short and is considered to be a cult classic.^[10]Eric Fogel, creator of Celebrity Deathmatch, stated that Lupo the Butcher 'opened [his] eyes to a world of animation that was strictly for grownups and inspired [him] to pursue a career path that was a bit more.. twisted'.^[14] Throughout his career, Antonucci received a number of awards. He worked on a number of award-winning commercials for Converse, ESPN and Levi's.^[10] In 1998, for his work on Cartoon Sushi, Antonucci received a National Cartoonists Society Division Award for Television Animation. His series Ed, Edd n Eddy received several awards and nominations; for his work on the series, Antonucci won a Reuben Award for Best Television Animation in 1999^[15] and a Leo Award for Best Director in an Animated Production or Series in 2000.^[16] He became best known for Ed, Edd n Eddy, which with an almost 11-year run remains the longest running original Cartoon Network series and Canadian-made animated series to date.^[10][17] It was also Cartoon Network's most popular series among boys ages 2–11.^[18] Bob Higgins, head of WildBrain, considered Ed, Edd n Eddy to be a 'landmark in animation'.^[4]Joe Murray, famous for creating the animated series Rocko's Modern Life and Camp Lazlo, called Antonucci 'one of the founders and mainstays of modern animation'.^[13]

Filmography[edit]

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Films[edit]

Television[edit]

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References[edit]

1. ^'400th Episode Special: Cartoon Network Interview with Danny Antonucci' on YouTube
2. ^Xolo.tv (August 25, 2006). 'WMX 66 'Interview with Danny Antonucci''. Retrieved June 21, 2018.
3. ^'Danny Antonucci'. Ottawa International Animation Festival. Retrieved June 19, 2012.
4. ^ ^abcBall, Ryan (September 5, 2008). 'Antonucci Makes Toons with W!LDBRAIN'. Animation Magazine. Retrieved May 21, 2012.
5. ^'Ed, Edd n Eddy TV Show Facts'. Kidzworld.com. Retrieved May 28, 2012.
6. ^ ^abcdeDanny Antonucci (October 10, 2006). Ed, Edd n Eddy: The Complete First Season—Interview with the Creator (DVD). Warner Home Video. Event occurs at 0:22–2:34.
7. ^ ^abShumway, Matt; Wayne, Lamont (June 1999). 'Ed, Edd n Eddy: A Unique Approach'. Animation World Magazine (4.3). Archived from the original on July 24, 2008. Retrieved July 31, 2008.
8. ^ ^abDanny Antonucci (October 10, 2006). Ed, Edd n Eddy: The Complete First Season—Interview with the Creator (DVD). Warner Home Video. Event occurs at 2:15–4:39.
9. ^Cornelius, David (April 24, 2007). 'DVD Talk Review: Ed, Edd 'n' Eddy — The Complete Second Season'. DVD Talk. Retrieved July 31, 2007.
10. ^ ^abcdKapko, Matt (November 16, 2009). 'Ed, Edd n Eddy's Big Picture Show Premiers in the U.S.'Animation World Network. Retrieved April 30, 2011.
11. ^Walton, Zach. 'Cartoon Network Brings Back The Classics With Cartoon Planet'. WebProNews. Archived from the original on October 7, 2012. Retrieved March 29, 2012.
12. ^'WildBrain pacts with Antonucci'. Variety. Penske Media Corporation. September 4, 2008. Retrieved January 17, 2014.
13. ^ ^abJoe Murray (June 11, 2013). 'June 11, 2013'. Retrieved January 17, 2014.
14. ^Kapko, Matt (February 5, 2010). 'The Toon That Changed My Life'. Animation Magazine. Retrieved May 17, 2011.
15. ^'Animation World News: Awards'. Animation World Magazine (4.3). Archived from the original on December 15, 2013. Retrieved April 30, 2012.
16. ^'2000 Winners'. Leo Awards. Retrieved May 2, 2012.
17. ^Grove, Chris (September 5, 2008). 'CN/D3 Unleash New Ed, Edd n Eddy Game'. Animation Magazine. Retrieved June 16, 2012.
18. ^Sarrazin, Marc-André (February 26, 2005). 'Midway Enters Publishing Agreement For 3 Cartoon Network Shows'. NintendoSpin.com. Archived from the original on September 4, 2012. Retrieved May 26, 2012.

External links[edit]

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• Danny Antonucci on IMDb

Chimpoo Ka Cartoon Video