On Thu, 18 Aug 94 23:40:38 EDT,
AndrewP603 at aol.com <AndrewP603 at aol.com> wrote:
> What part of the U.S. is Duckberg in? I seem to remember reading in a (I
>think it was Barks) comic that it was in "Calisota." This sounds like a
>hybrid of California and Minnesota to me.
Welcome to the list! It's good to see a fellow Minnesotan here. I joined
this list last December and asked the very same question to the list
members. (I always suspected the Minnesota reference was partly due to
Barks having lived in Minneapolis when he worked for the Calgary Eye Opener.
>P.S. There used to be a fanzine about Disney comics called _The Duckberg
>Times_, I believe. Does anyone know if it's still around or how to get an
>issue? Thanks.
I used to (or may still have!) a subscription to _The Duckburg Times_,
published by Dana Gabbard et. al. The issues stopped coming 5 or more
years ago then an issue suddenly show up about a year back. Haven't seen
one since, so I'd guess Dana is too busy with other pursuits. Along those
lines, I haven't see _The Barks Collector_ for many years. Did John
Nichols discontinue it?
Tryg Helseth <trygve at maroon.tc.umn.edu> Minneapolis, MN, USA
or <tryg.helseth at tstation.mn.org>
"I wish they all could be Calisota Ducks!" -The Beach Drakes
Author
Topic: 199408
(88 messages)
Tryg Helseth
Where's Duckberg?
Message 46 -
1994-08-20 at 14:50:17
AndrewP603
Why I stopped buying Disney
Message 47 -
1994-08-22 at 06:27:21
Don,
There may be one other bit that may interest you about the store that was
selling Lo$ 3 and 4 for $10 and $5. Each month they rank the top ten hottest
new comics. When I stopped into the store, guess what was in the #1 spot,
ahead of Spawn (which doesn't deserve to be up there at all), ahead of
Sandman (which does), and ahead of everything? You bet. Uncle Scrooge #288
(Lo$ 4). And they even hung an extra sign next to it which read something
like "You'll be sorry if you miss this one!" (Don't get too excited: I
should also mention that one of the other main comic stores in town, where I
used to shop, has apparently stopped selling Disney comics all together.)
You were wondering why I stopped buying Disney comics when Disney took them
over. Well, there were a number of reasons:
First of all, I loved the job that Gladstone was doing at producing the
Disney line. I couldn't see any reason to yank the licence away from them
when they were doing such a good job.
When Disney took over the line they flat-out canceled the Donald Duck series.
It was one of the longest-running series in comic history, dating back to
around 1940.
The editorial quality dropped. When you read a Gladstone comic, you could
always tell from the letters columns and articles that the people cared about
the artistic value of Disney Comics. The people at Disney aimed didn't seem
to care about the Barks and Rosa fans. It was as if they were saying,
"Everyone else in America thinks Disney comics are just for kids. So do we!"
In my opinion, the writing and art took a turn for the worse. They used
almost exclusively people that I had never heard of before (with the
exception of DDA #1). A look at the credits in Disney's first WDC&S shows
Les Lilley, Victor Arriagada Rios, George Beal, Julio Ramos, Jack Sutter, and
Fernandez. I haven't heard of one of these people!
And also, they raised the price by 50%, which is pretty substantial.
Well, there you have it. An in depth look at why I stopped buying Disney
comics. (And by the way, mind filling me in on "the same reason I've heard
from all the other people I've asked this of"?)
Andrew Peterson
There may be one other bit that may interest you about the store that was
selling Lo$ 3 and 4 for $10 and $5. Each month they rank the top ten hottest
new comics. When I stopped into the store, guess what was in the #1 spot,
ahead of Spawn (which doesn't deserve to be up there at all), ahead of
Sandman (which does), and ahead of everything? You bet. Uncle Scrooge #288
(Lo$ 4). And they even hung an extra sign next to it which read something
like "You'll be sorry if you miss this one!" (Don't get too excited: I
should also mention that one of the other main comic stores in town, where I
used to shop, has apparently stopped selling Disney comics all together.)
You were wondering why I stopped buying Disney comics when Disney took them
over. Well, there were a number of reasons:
First of all, I loved the job that Gladstone was doing at producing the
Disney line. I couldn't see any reason to yank the licence away from them
when they were doing such a good job.
When Disney took over the line they flat-out canceled the Donald Duck series.
It was one of the longest-running series in comic history, dating back to
around 1940.
The editorial quality dropped. When you read a Gladstone comic, you could
always tell from the letters columns and articles that the people cared about
the artistic value of Disney Comics. The people at Disney aimed didn't seem
to care about the Barks and Rosa fans. It was as if they were saying,
"Everyone else in America thinks Disney comics are just for kids. So do we!"
In my opinion, the writing and art took a turn for the worse. They used
almost exclusively people that I had never heard of before (with the
exception of DDA #1). A look at the credits in Disney's first WDC&S shows
Les Lilley, Victor Arriagada Rios, George Beal, Julio Ramos, Jack Sutter, and
Fernandez. I haven't heard of one of these people!
And also, they raised the price by 50%, which is pretty substantial.
Well, there you have it. An in depth look at why I stopped buying Disney
comics. (And by the way, mind filling me in on "the same reason I've heard
from all the other people I've asked this of"?)
Andrew Peterson
Harry Fluks
Why I stopped buying Disney
Message 48 -
1994-08-22 at 11:23:17
Andrew P. wrote:
> The editorial quality dropped. When you read a Gladstone comic, you could
> always tell from the letters columns and articles that the people cared about
> the artistic value of Disney Comics.
They improved on that later, when lots of letters from David Gerstein
were published... 8-)
> In my opinion, the writing and art took a turn for the worse. They used
> almost exclusively people that I had never heard of before (with the
> exception of DDA #1). A look at the credits in Disney's first WDC&S shows
> Les Lilley, Victor Arriagada Rios, George Beal, Julio Ramos, Jack Sutter, and
> Fernandez. I haven't heard of one of these people!
This is one thing I liked about Disney Comics in the beginning: they published
the (full) names of those "Danish" (Egmont) artists. Gladstone had always
published the stories, without credits. Later I heard that Egmont wouldn't
give the credits at first, but that they later changed their mind,
coincidentally at the moment Disney took over in the USA.
It was the first time I saw the *real* name of Vicar (V.A.Rios), he has been
(in)famous since the early 70s.
Of course, this didn't make me *buy* Disney Comics...
--Harry.
> The editorial quality dropped. When you read a Gladstone comic, you could
> always tell from the letters columns and articles that the people cared about
> the artistic value of Disney Comics.
They improved on that later, when lots of letters from David Gerstein
were published... 8-)
> In my opinion, the writing and art took a turn for the worse. They used
> almost exclusively people that I had never heard of before (with the
> exception of DDA #1). A look at the credits in Disney's first WDC&S shows
> Les Lilley, Victor Arriagada Rios, George Beal, Julio Ramos, Jack Sutter, and
> Fernandez. I haven't heard of one of these people!
This is one thing I liked about Disney Comics in the beginning: they published
the (full) names of those "Danish" (Egmont) artists. Gladstone had always
published the stories, without credits. Later I heard that Egmont wouldn't
give the credits at first, but that they later changed their mind,
coincidentally at the moment Disney took over in the USA.
It was the first time I saw the *real* name of Vicar (V.A.Rios), he has been
(in)famous since the early 70s.
Of course, this didn't make me *buy* Disney Comics...
--Harry.
Daniel Van Eijmeren
From Daniel van Eijmeren
Message 49 -
1994-08-22 at 12:05:57
Hi everybody,
DON:
I didn't believe what my eyes told me when I read how Grandey
treats you. I really hope that Barks himself has nothing to do with
it. I always try to believe that Barks doesn't know about the anti-
Rosa campaign and that he doesn't have any bad feelings about you.
How could he? Even if he doesn't like it that you're re-using ideas
from his stories, he'll have to realize that "his" Scrooge is
living again because of all those stories *you* made/make. And even
if he doesn't realize that, he doesn't have the right to backbite
you *personally*. But as I said, I'm still hoping he doesn't know
about this at all. (But that would be very stupid.)
I wondered several times why you don't try to contact Barks in
private to talk with him personally about his opinions about you.
Maybe that would give the right answer. I realize that it would now
probably work against you, because of the upcoming lawsuit. But why
didn't you contact Barks personally in the past?
I really hope that you will win the lawsuit against Grandey, may
the law be with you.
SCROOGE'S FORTUNE, MIKKO AND DON:
=================================
I revisited a very old discussion about the amount of Scrooge's
money, with adding a quote from "The Magic Hourglass".
> Scrooge: "I can't go on like this - losing a billion dollars a
> minute! I'll be broke in 600 years!"
Mikko answered:
> Maybe at the time of that have that money, but that doesn't mean
> he has it all the time.
Then Don said to Mikko:
> (...) Therefore skip it. Therefore stop.
Mikko answered:
> I was just answering to that guy, I didn't brought the subject to
> here.
It was not my purpose to reanimate an old discussion on this list.
But you must remember that I'm always very backdated because all
those digests and my comments go through snailmail. When I
commented about this old discussion, I had just read that
discussion and I saw that that quote was missing in it. I thought
that you overlooked it and then I added it, because I thought it
could be interesting to know.
I hope you understand my troubles with being backdated. Comments
and discussions can be new to me, when you already forgot about it.
I am trying to persuade my father to buy a modem, but he still
doesn't want to buy one. So I have still a rather long way to walk
to talk with you.
Barks in Holland
================
There were a lot of comments in the Dutch newspapers about Barks'
visit, but they used only old interviews of Barks in it. But now I
got hand on an article in "De Telegraaf" were Barks comments were
new (it was published on the "woman"-pages!!!). Here are some parts
of it:
"Donald Duck isn't a duck, he only looks like one."
---------------------------------------------------
His house is full of Donald Duck-figures, on his clothes you can
always find a comic-duck, with a walking Donald nearby him he is at
his ease and witnessing the cover of the latest Duck-comic, a
little role in Duckburg can suit Carl Barks (93) very well. [A
caricature of Barks is shown on that cover.]
Carl Barks is impressed by all the positive attention he gets
during his journey through Europe: "Half of my life I could hide
behind Donald and his family. I never wanted to talk or being
social, I wanted to draw. Now I'm invited for a journey through
Europe and all what I do is talking. Everywhere press, everywhere
honouring and everywhere visits to important persons. In America
there is even a Barks-avenue. I find all that attention very
scary."
"I may be very aged, but I always feel like a kid. I think that I
have begun with my second or maybe even my third youth. Ah, I never
got grown-up properly."
It was in the seventies that Barks became very well-known by the
readers and they pelt him with letters. He became so populair at
once that he and his wife bought a mobile home, so that they could
move when too much fans had discovered his private adress.
Barks is now retired, but he paints every day. The paintings bring
up 200,000 each. But the money, in view of his age, doesn't mean
much to him. "I'm thankful that Donald stays alive."
At the moment that Barks meets the comic artists and sees their
work, the press is kept on a distance. It not only means very much
to the artists, for Barks the meeting or even confrontation with
their work is a highlight as well: "It is splendid!" People who
don't understand all this bustle about a comic-duck, Barks can let
them have it, his winged comment is: "Donald Duck isn't a duck, he
only looks like one."
De Telegraaf, 16 july 1994, by Babette Wieringa.
(Help!) Guardians of the Lost Library
=====================================
Does anyone of you have a copy of GotLL for me?
(Help again!) Original giveaways
================================
Does someone of you have some original versions (pasted or not) of
Barks' giveaway-stories?
Very much greetings,
Daniel van Eijmeren.
- "*Why* is that bird Grandey singing that way out there?"
- "Oh! Maybe it's glad! Maybe it's sad! Maybe it's a little *mad*!"
DON:
I didn't believe what my eyes told me when I read how Grandey
treats you. I really hope that Barks himself has nothing to do with
it. I always try to believe that Barks doesn't know about the anti-
Rosa campaign and that he doesn't have any bad feelings about you.
How could he? Even if he doesn't like it that you're re-using ideas
from his stories, he'll have to realize that "his" Scrooge is
living again because of all those stories *you* made/make. And even
if he doesn't realize that, he doesn't have the right to backbite
you *personally*. But as I said, I'm still hoping he doesn't know
about this at all. (But that would be very stupid.)
I wondered several times why you don't try to contact Barks in
private to talk with him personally about his opinions about you.
Maybe that would give the right answer. I realize that it would now
probably work against you, because of the upcoming lawsuit. But why
didn't you contact Barks personally in the past?
I really hope that you will win the lawsuit against Grandey, may
the law be with you.
SCROOGE'S FORTUNE, MIKKO AND DON:
=================================
I revisited a very old discussion about the amount of Scrooge's
money, with adding a quote from "The Magic Hourglass".
> Scrooge: "I can't go on like this - losing a billion dollars a
> minute! I'll be broke in 600 years!"
Mikko answered:
> Maybe at the time of that have that money, but that doesn't mean
> he has it all the time.
Then Don said to Mikko:
> (...) Therefore skip it. Therefore stop.
Mikko answered:
> I was just answering to that guy, I didn't brought the subject to
> here.
It was not my purpose to reanimate an old discussion on this list.
But you must remember that I'm always very backdated because all
those digests and my comments go through snailmail. When I
commented about this old discussion, I had just read that
discussion and I saw that that quote was missing in it. I thought
that you overlooked it and then I added it, because I thought it
could be interesting to know.
I hope you understand my troubles with being backdated. Comments
and discussions can be new to me, when you already forgot about it.
I am trying to persuade my father to buy a modem, but he still
doesn't want to buy one. So I have still a rather long way to walk
to talk with you.
Barks in Holland
================
There were a lot of comments in the Dutch newspapers about Barks'
visit, but they used only old interviews of Barks in it. But now I
got hand on an article in "De Telegraaf" were Barks comments were
new (it was published on the "woman"-pages!!!). Here are some parts
of it:
"Donald Duck isn't a duck, he only looks like one."
---------------------------------------------------
His house is full of Donald Duck-figures, on his clothes you can
always find a comic-duck, with a walking Donald nearby him he is at
his ease and witnessing the cover of the latest Duck-comic, a
little role in Duckburg can suit Carl Barks (93) very well. [A
caricature of Barks is shown on that cover.]
Carl Barks is impressed by all the positive attention he gets
during his journey through Europe: "Half of my life I could hide
behind Donald and his family. I never wanted to talk or being
social, I wanted to draw. Now I'm invited for a journey through
Europe and all what I do is talking. Everywhere press, everywhere
honouring and everywhere visits to important persons. In America
there is even a Barks-avenue. I find all that attention very
scary."
"I may be very aged, but I always feel like a kid. I think that I
have begun with my second or maybe even my third youth. Ah, I never
got grown-up properly."
It was in the seventies that Barks became very well-known by the
readers and they pelt him with letters. He became so populair at
once that he and his wife bought a mobile home, so that they could
move when too much fans had discovered his private adress.
Barks is now retired, but he paints every day. The paintings bring
up 200,000 each. But the money, in view of his age, doesn't mean
much to him. "I'm thankful that Donald stays alive."
At the moment that Barks meets the comic artists and sees their
work, the press is kept on a distance. It not only means very much
to the artists, for Barks the meeting or even confrontation with
their work is a highlight as well: "It is splendid!" People who
don't understand all this bustle about a comic-duck, Barks can let
them have it, his winged comment is: "Donald Duck isn't a duck, he
only looks like one."
De Telegraaf, 16 july 1994, by Babette Wieringa.
(Help!) Guardians of the Lost Library
=====================================
Does anyone of you have a copy of GotLL for me?
(Help again!) Original giveaways
================================
Does someone of you have some original versions (pasted or not) of
Barks' giveaway-stories?
Very much greetings,
Daniel van Eijmeren.
- "*Why* is that bird Grandey singing that way out there?"
- "Oh! Maybe it's glad! Maybe it's sad! Maybe it's a little *mad*!"
Don Rosa
Disney-comics digest #411.
Message 50 -
1994-08-23 at 06:09:36
ANDREW:
Thanks. To answer your questions, your reasons for stopping
buying the Disney Disney comics were precisely the same reasons that I
hear from everyone. Actually, your statement was a compendium of all the
reasons I've heard -- you hit them all.
As a matter of fact, aren't you the fella that just stated that
reasoning behind the name "Calisota" that I said was exactly how I'd
always described the same? Either you're copying this stuff out of old
Digests, or you are a quintessential Duck fan.
HARRY:
In defense of Gladstone's listing of credits -- one of Bruce
Hamilton's conditions for taking on the Disney license in '86 was that
they give the credits, and Disney at first refused, but Hamilton stuck
to his guns and won that remarkable concession which is not allowed to
this day in any other Disney comic books in the world. I would think
that when Disney yanked the license and took over, they couldn't very
easilly stop giving credits without looking very bad. Gladstone always
wanted to list the Egmont artists, but Egmont declined giving the names
for fear other Disney licensees (like Oberon or Italy) would try to lure
away their artist stable (which is crazy, since Egmont pays best), and
when Disney took over, either Disney had the secret data or Egmont gave
it up at that time by coincidence. The point is that while Gladstone
always was very clear and truthful that these stories were reprints of
work done by these foreign artists for this or that foreign company, if
you read the Disney credits you can tell that they were trying to imply
that these were all new stories being done just for Disney Comics. This
is a white lie or a lie-of-omission, just as when they started
reprinting my work they took out big ads saying it was the "first
appearance of these stories in Disney Comics!", I feel knowing that
readers would not notice the fact that "Comics" was capitalized, and
think this meant any "Disney comics" anywhere.
DANIEL:
I wish to believe that Barks did not know of the infamous FAX
that I'm suing Grandey over. Of course he knew of the ongoing anti-Rosa
campaign and since I've long known of his resentment of me, I think it's
obvious (and sad) that he must have either supported it or allowed it.
Someone recently even suggested that Barks gets a cut of the sale of the
Van Horn and Jippes art since it's sold by his "Studio", and would then
be aware of the reasons that Grandey is so anxious to do me damage. But
none of that matters -- I would never react to anything that my idol
chose to do to me... how can I? But his toady is something else -- I
don't have a lifelong admiration of Grandey, as you may well imagine.
As for meeting with Barks to iron out his misguided feelings
about me, that is exactly what I hoped would come of my trip to meet him
in Atlanta, but I was (as you well know) barred from speaking to him.
Now I no longer wish to have anything to do with him... I don't wish to
make him uncomfortable if he hates me that much. I'll leave him alone.
Grandey I WON'T leave alone.
Thanks. To answer your questions, your reasons for stopping
buying the Disney Disney comics were precisely the same reasons that I
hear from everyone. Actually, your statement was a compendium of all the
reasons I've heard -- you hit them all.
As a matter of fact, aren't you the fella that just stated that
reasoning behind the name "Calisota" that I said was exactly how I'd
always described the same? Either you're copying this stuff out of old
Digests, or you are a quintessential Duck fan.
HARRY:
In defense of Gladstone's listing of credits -- one of Bruce
Hamilton's conditions for taking on the Disney license in '86 was that
they give the credits, and Disney at first refused, but Hamilton stuck
to his guns and won that remarkable concession which is not allowed to
this day in any other Disney comic books in the world. I would think
that when Disney yanked the license and took over, they couldn't very
easilly stop giving credits without looking very bad. Gladstone always
wanted to list the Egmont artists, but Egmont declined giving the names
for fear other Disney licensees (like Oberon or Italy) would try to lure
away their artist stable (which is crazy, since Egmont pays best), and
when Disney took over, either Disney had the secret data or Egmont gave
it up at that time by coincidence. The point is that while Gladstone
always was very clear and truthful that these stories were reprints of
work done by these foreign artists for this or that foreign company, if
you read the Disney credits you can tell that they were trying to imply
that these were all new stories being done just for Disney Comics. This
is a white lie or a lie-of-omission, just as when they started
reprinting my work they took out big ads saying it was the "first
appearance of these stories in Disney Comics!", I feel knowing that
readers would not notice the fact that "Comics" was capitalized, and
think this meant any "Disney comics" anywhere.
DANIEL:
I wish to believe that Barks did not know of the infamous FAX
that I'm suing Grandey over. Of course he knew of the ongoing anti-Rosa
campaign and since I've long known of his resentment of me, I think it's
obvious (and sad) that he must have either supported it or allowed it.
Someone recently even suggested that Barks gets a cut of the sale of the
Van Horn and Jippes art since it's sold by his "Studio", and would then
be aware of the reasons that Grandey is so anxious to do me damage. But
none of that matters -- I would never react to anything that my idol
chose to do to me... how can I? But his toady is something else -- I
don't have a lifelong admiration of Grandey, as you may well imagine.
As for meeting with Barks to iron out his misguided feelings
about me, that is exactly what I hoped would come of my trip to meet him
in Atlanta, but I was (as you well know) barred from speaking to him.
Now I no longer wish to have anything to do with him... I don't wish to
make him uncomfortable if he hates me that much. I'll leave him alone.
Grandey I WON'T leave alone.
GaiaMaster
List
Message 51 -
1994-08-24 at 00:49:09
Take Me Off the list! This is not what I expected!
AndrewP603
Old digests
Message 52 -
1994-08-24 at 04:10:47
Don,
Nope, I can't say that I've been reading old digests. These opinions are my
own; I've never actually exchanged opinions on Disney comics before, so they
couldn't be anyone else's!
I think that I will read some of the old digests, though. I'd like to
figure out what this "infamous" thing is between you and "Grandey".
Until later,
Andrew Peterson
Nope, I can't say that I've been reading old digests. These opinions are my
own; I've never actually exchanged opinions on Disney comics before, so they
couldn't be anyone else's!
I think that I will read some of the old digests, though. I'd like to
figure out what this "infamous" thing is between you and "Grandey".
Until later,
Andrew Peterson
Don Rosa
Disney-comics digest #412.
Message 53 -
1994-08-24 at 05:34:58
Whups! Someone else who was only looking for a discussion of how
often we've each ridden Thunder Mountain, or how cute the Disney Babies
are. Sorry!
often we've each ridden Thunder Mountain, or how cute the Disney Babies
are. Sorry!
Mogens Kjaer
Unsubscribe
Message 54 -
1994-08-24 at 10:21:53
Unsubscribe carlmk at unidhp.uni-c.dk
--
Mogens Kjaer
Pronto Software - Development and Distribution
Carlsberg Research Center
Gamle Carlsberg Vej 10
DK-2500 Valby
Denmark
Phone: + 45 33 27 53 25
Fax: + 45 33 27 47 08
Email: carlmk at unidhp.uni-c.dk
--
Mogens Kjaer
Pronto Software - Development and Distribution
Carlsberg Research Center
Gamle Carlsberg Vej 10
DK-2500 Valby
Denmark
Phone: + 45 33 27 53 25
Fax: + 45 33 27 47 08
Email: carlmk at unidhp.uni-c.dk
Harry Fluks
Old digests
Message 55 -
1994-08-24 at 10:51:34
Andrew:
> I think that I will read some of the old digests, though. I'd like to
> figure out what this "infamous" thing is between you and "Grandey".
If you want any help finding that particular text: ask me. I didn't include
anything about Grandey in the 'don-rosa' ftp file I mentioned before (I'm
not sure if I should..)
--Harry.
> I think that I will read some of the old digests, though. I'd like to
> figure out what this "infamous" thing is between you and "Grandey".
If you want any help finding that particular text: ask me. I didn't include
anything about Grandey in the 'don-rosa' ftp file I mentioned before (I'm
not sure if I should..)
--Harry.
Derek M. Koch
?
Message 56 -
1994-08-24 at 23:24:02
No offense, but to whom it may concern: I really need to get off
of this list . . . Thank you . . .
---------------------------------------------------------------------
A pet is not worth having unless it can be sold off as beef . . .
---------------------------------------------------------------------
Derek M. Koch --> lcdkoch at antelope.wcc.edu
snail mail --> P.O. Box 5561
Cheyenne, WY 82003
----------------------------------------------
of this list . . . Thank you . . .
---------------------------------------------------------------------
A pet is not worth having unless it can be sold off as beef . . .
---------------------------------------------------------------------
Derek M. Koch --> lcdkoch at antelope.wcc.edu
snail mail --> P.O. Box 5561
Cheyenne, WY 82003
----------------------------------------------
Lee J. Sobier
Unsubscribe rbljs321@glen-ellyn.IIT.edu
Message 57 -
1994-08-25 at 03:35:10
please unsubscribe
rbljs321 at glen-ellyn.IIT.edu
lee sobier
thank you
rbljs321 at glen-ellyn.IIT.edu
lee sobier
thank you
X_mehling
Unsubscribe
Message 58 -
1994-08-25 at 05:18:44
unsubscribe
LINDA WEINMANN WINONA PUBLIC LIBRARY
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Message 59 -
1994-08-25 at 20:42:32
unsubscribe
Thore Harald Hoye
Unsubscribe
Message 60 -
1994-08-25 at 21:10:42
Will you please address your unsubscribe messages to
disney-comics-request at minsk.docs.uu.se instead?
disney-comics-request at minsk.docs.uu.se instead?