HENRI:
>How is "a parody" defined by the *law*? I mean, how can you tell if
>something is a parody or a copyright violation?
I don't know the laws of any country about this (expect that China
has none) but I assume that the name must be different. From there you're free
to do what you like, but if the possessor of the original copyright sues you
and wins the case, then it's a copyright violation.
>I think publishing a story with such special character can cause lots of
>letters to editors complaining or wanting more. How to get rid of the
>character afterwards in a way that is suitable for a Disney comic?
I don't see how Phooey should be very special a character. If he's
an alien or a parallel universum nephew or a clone or a droid or anything,
he will probably be just sent back to where he came from (or the main person
will wake up and find out it was all just a dream) and if he really would be
the long lost brother, a real son of Della and her husband whose name escapes
me for now, then his appearance wouldn't really make much difference - there
would be four nephews instead of three, so what? (of course, the latter will
absolutely not be the case, but it still wouldn't change the Universum much)
--
Mike - The Finnish Trekkie
Author
Topic: 199605
(235 messages)
Mike Pohjola
Disney comics Digest V96 #100
Message 91 -
1996-05-12 at 18:39:14
Fredrik Ekman
Fakes, parodies, etc
Message 92 -
1996-05-12 at 19:54:10
Henri wrote:
> How is "inspired" different from "copied the look"? Using: "Any similarity
> to any persons or comic book characters, such as, but not limited to,
> living or dead, is totally unintentional."? ;-)
I don't remember my exact original wordings, so I don't know if this is
the answer you asked for, but...
If you insist on using that phrase, there is no difference. However, I
think that the real difference lies in the intention: Howard the Duck and
Arne Anka are clearly intended as homages to Barks and Donald, but that is
not all: they are also very different from DD in their ways of life, in
how they react to the world around them and many other things. In short,
they are clearly different characters. But still inspired by a Disney
character.
> > It should also be pointed out that parodies are technically legal.
> How is "a parody" defined by the *law*? I mean, how can you tell if
> something is a parody or a copyright violation?
I'm not a lawyer, and I know that this is a legal gray-zone, but I do know
that one criterion for a work of art to be considered a parody is that all
names of characters be changed.
> > David wrote:
> > >...why don't they try writing REAL Disney comics?
> >
> > Perhaps because then they won't be allowed to keep the rights to their own
> > work?
>
> An interesting point of view. How about Disney's rights?
If someone writes a parody which falls within the legal boundaries (which
clearly neither Air Pirates nor Elitserien did) then Disney technically
HAS no rights to it. At least that's the way I understand it.
I know that Svenska MAD (The Swedish translation of MAD) has published at
least one DD parody and I have not heard about any action from Disney in
that case.
/F
> How is "inspired" different from "copied the look"? Using: "Any similarity
> to any persons or comic book characters, such as, but not limited to,
> living or dead, is totally unintentional."? ;-)
I don't remember my exact original wordings, so I don't know if this is
the answer you asked for, but...
If you insist on using that phrase, there is no difference. However, I
think that the real difference lies in the intention: Howard the Duck and
Arne Anka are clearly intended as homages to Barks and Donald, but that is
not all: they are also very different from DD in their ways of life, in
how they react to the world around them and many other things. In short,
they are clearly different characters. But still inspired by a Disney
character.
> > It should also be pointed out that parodies are technically legal.
> How is "a parody" defined by the *law*? I mean, how can you tell if
> something is a parody or a copyright violation?
I'm not a lawyer, and I know that this is a legal gray-zone, but I do know
that one criterion for a work of art to be considered a parody is that all
names of characters be changed.
> > David wrote:
> > >...why don't they try writing REAL Disney comics?
> >
> > Perhaps because then they won't be allowed to keep the rights to their own
> > work?
>
> An interesting point of view. How about Disney's rights?
If someone writes a parody which falls within the legal boundaries (which
clearly neither Air Pirates nor Elitserien did) then Disney technically
HAS no rights to it. At least that's the way I understand it.
I know that Svenska MAD (The Swedish translation of MAD) has published at
least one DD parody and I have not heard about any action from Disney in
that case.
/F
David A Gerstein
Disney comics Digest V96 #100
Message 93 -
1996-05-12 at 20:57:02
NILS:
The Barney Bear story you quote has always interested me very
much. In the months leading up to "Christmas on Bear Mountain," two
Barney stories essentially prefigure Uncle Scrooge. One story is
about Barney's "rich, ferocious Uncle Grizzly" who comes for a
visit... a gruff, nasty character with more than a little Scroogian
temper. Then in the story you mentioned, Barney keeps losing golf
balls on the links, and has to battle course-owner McDuff for them...
and McDuff not only comes up with very Scroogish ways to snaffle the
balls, but is actually referred to as a 'scrooge' by Barney in that
line you quoted. Veddy inter-r-resting...
The plots for the stories were not by Barks at this period,
but the writing style shows that he must have completely rewritten
them from however they were originally. Anyway, it's interesting to
see elements of the later McDuck emerge in this series. Around the
same time, another Barney story involves the ruse of salting a rainbow
with pots of money, just as that famous Scrooge ten-pager would, six
years later. (This plot WAS by Barks, for those who don't know.)
I find the Barney Bear stories to be as good as any of Barks'
superb works -- and for me, they stand out as his best work of any in
1946. At a time when DD and the nephews were usually at odds, Barney
and Benny had a relationship closer to how DD-HDL would eventually
develop, and it meant for better short stories, IMHO.
Li'l Wolf's Gil Turner takes over for Barks as writer/artist
of the feature, BTW. He was much better with the wolves, IMHO -- most
interesting is how he turns Barney's Jones-like neighbor Mooseface
McElk into a friendlier figure, surprising in light of how Turner
excelled at rendering the delightfully villainous Zeke Wolf.
David Gerstein
<(Email removed)>
"Quiet, Tabby! Do you have to tromp across the floor like a
shod horse?"
The Barney Bear story you quote has always interested me very
much. In the months leading up to "Christmas on Bear Mountain," two
Barney stories essentially prefigure Uncle Scrooge. One story is
about Barney's "rich, ferocious Uncle Grizzly" who comes for a
visit... a gruff, nasty character with more than a little Scroogian
temper. Then in the story you mentioned, Barney keeps losing golf
balls on the links, and has to battle course-owner McDuff for them...
and McDuff not only comes up with very Scroogish ways to snaffle the
balls, but is actually referred to as a 'scrooge' by Barney in that
line you quoted. Veddy inter-r-resting...
The plots for the stories were not by Barks at this period,
but the writing style shows that he must have completely rewritten
them from however they were originally. Anyway, it's interesting to
see elements of the later McDuck emerge in this series. Around the
same time, another Barney story involves the ruse of salting a rainbow
with pots of money, just as that famous Scrooge ten-pager would, six
years later. (This plot WAS by Barks, for those who don't know.)
I find the Barney Bear stories to be as good as any of Barks'
superb works -- and for me, they stand out as his best work of any in
1946. At a time when DD and the nephews were usually at odds, Barney
and Benny had a relationship closer to how DD-HDL would eventually
develop, and it meant for better short stories, IMHO.
Li'l Wolf's Gil Turner takes over for Barks as writer/artist
of the feature, BTW. He was much better with the wolves, IMHO -- most
interesting is how he turns Barney's Jones-like neighbor Mooseface
McElk into a friendlier figure, surprising in light of how Turner
excelled at rendering the delightfully villainous Zeke Wolf.
David Gerstein
<(Email removed)>
"Quiet, Tabby! Do you have to tromp across the floor like a
shod horse?"
Don Rosa
Disney comics Digest V96 #100
Message 94 -
1996-05-13 at 07:54:00
FRANK:
I didn't get the impression that this Italian booklet was reprinted from
FUMO DI CHINA. It says that it's translated from what sounds like an
original, separate booklet. When I get around to reading it, I might know
more. Right now it's on the stack of "stuff I absolutely will read!!!"...
but that stack is VERY tall these days.
NILS:
All the Egmont publishers began putting full writer and artist credits below
the splash panels in all their Disney comics sometime in 1990, shortly after
I went to work there. I never pushed for that, as glad as I was to see it --
it's just something they have always wanted to do, naturally. But within a
few months the credits began disappearing; one or two publishers tried to
hold out against whatever pressure was being put on them by someone (Disney?
Their own legal department? Who knows?)to remove the credits, but they also
finally eliminated them. I never have pressed them for an explanation of
that whole thing, but I know that they wanted to continue to print the
credits, but couldn't.
Yes, this would not seem to explain how or why they can still mention which
stories are done by Barks or me, which they do continue to do. And that's
not very fair to all the other writers and artists. But I don't know what
can be done (especially when I don't know what's going on).
I didn't get the impression that this Italian booklet was reprinted from
FUMO DI CHINA. It says that it's translated from what sounds like an
original, separate booklet. When I get around to reading it, I might know
more. Right now it's on the stack of "stuff I absolutely will read!!!"...
but that stack is VERY tall these days.
NILS:
All the Egmont publishers began putting full writer and artist credits below
the splash panels in all their Disney comics sometime in 1990, shortly after
I went to work there. I never pushed for that, as glad as I was to see it --
it's just something they have always wanted to do, naturally. But within a
few months the credits began disappearing; one or two publishers tried to
hold out against whatever pressure was being put on them by someone (Disney?
Their own legal department? Who knows?)to remove the credits, but they also
finally eliminated them. I never have pressed them for an explanation of
that whole thing, but I know that they wanted to continue to print the
credits, but couldn't.
Yes, this would not seem to explain how or why they can still mention which
stories are done by Barks or me, which they do continue to do. And that's
not very fair to all the other writers and artists. But I don't know what
can be done (especially when I don't know what's going on).
Frank Stajano
Giorgio Cavazzano
Message 95 -
1996-05-13 at 11:46:21
I promised this a very long time ago and at last it's almost finished:
the web page for Giorgio Cavazzano. I still have to complete the art
periods section and I still have to add all the pictures, but the bulk
of the text is done, so I can post it to the list. I'll mail an
announcement when I put the page online.
Giorgio Cavazzano
Unquestionably the most innovative and dynamic of all the Italian
Disney artists, Giorgio Cavazzano started his precocious Disney career
at the age of 14 as the third inker of Romano Scarpa, then 34.
Although he has written a few scripts himself, he is above all an
outstanding graphical artist. Born in Venice in 1947, Cavazzano, a
true natural talent, was already inking the pencils of his cousin
Luciano Capitanio at a mere 12. After a few years of inking practice
as Scarpa's apprentice he asked his master to let him have a go at the
pencils: his first story as a complete artist, scripted by Osvaldo
Pavese, appeared in 1967 as "Paperino e il singhiozzo a martello" (TL
611), recently reprinted in CWDNS 211. His creative curiosity got him
interested early on in many great non-Disney artists such as Uderzo,
Franquin, Jacovitti -- then virtually unknown to most of his
narrow-minded colleagues at Mondadori. Guided by a powerful urge to
innovate he boldly experimented, during the early and mid '70s, with a
new, vibrant graphic style in which the rubber-like qualities of the
traditional Disney characters merged with adventurous and realistic
rendering of machinery and techno-gadgets. His best stories from this
"techno" phase, mostly scripted by the gifted Giorgio Pezzin, stood
out so obviously from the rest that even very occasional readers would
recognise and appreciate him at once -- anyone who was a
Topolino-reading kid at the time will remember the submarine of
"Paperoga e il peso della gloria" (TL 1007, 1975) and the kamikaze
bomber of "Paperino e l'eroico smemorato" (TL 1059, 1976). He was
obviously venturing very far from the Disney canons, and anyone of
lesser talent doing the same would have simply strayed off course;
but, to bring back an often-quoted remark by comic writer Tiziano
Sclavi, "Over the years, Giorgio managed to be Cavazzano and Disney at
once. Before him, this had only been achieved by people like Carl
Barks.".
Cavazzano's influence on other Disney artists has been enormous. Taken
as an ideal of perfection by many if not most of the Italian Disney
artists of the new generation (some of whom sadly fail to see the
importance of expanding their comics culture beyond their very narrow
horizons before settling on slavish imitation of a model, however
good), he was also inspirational to the evolution of his great
contemporary Massimo De Vita.
Besides ducks and mice the eclectic venetian artist has also been
focusing his skills on many other fields. Over the course of his
career he created an amazing array of comics characters outside the
Disney universe, among which are Walkie & Talkie (1974), Oscar e Tango
(1974), Altai & Jonson (1975), Smalto & Jonny (1976), Slim Norton
(1977), Silas Finn (1979), I due colonnelli (1977), Big Bazoom (1983),
Capitan Rogers (1981), Timothie Titan (1987), Jungle Bungle (1991),
not to mention his work in advertising. He is the recipient of many
comics awards.
Bibliography
The Cavazzano fan can rejoice: our author is now rather popular. I
still feel that there is a gap to be filled, in that there is no true
ultimate book on Cavazzano yet, but the union of the sources below is
pretty good reading anyway. Sorry, but they're all in Italian.
Silvano MEZZAVILLA (ed.), Giorgio Cavazzano, Editori del Grifo,
1994, ISBN 88-7773-246-6, 128 pg, Itl 18000.
If you're interested in Cavazzano you can't miss this
one. The lavishly illustrated booklet (mostly black and
white but with some colour pictures) opens with a long
interview, goes on with 10 pages of photographs and then
offers a dozen contributions by well-known comic authors and
critics, each writing three or four pages and presenting
Cavazzano from a different angle. After this, an extensive
index of all his stories, both Disney and not.
Gianni BRUNORO, Pennelli in aria, creativit` e suggestioni
nell'opera di Giorgio Cavazzano, autore di fumetti, Libreria
dell'immagine, 1994, 48 pg, Itl. 6000.
Thin, cheap, good value. Its story index isn't too accurate,
but buy the booklet for the excellent card file on all of
Cavazzano's non-Disney characters. Worthy of note also for
its 10-page interview and for some interesting commentaries.
Gulliver n. 5, Club Amici del Fumetto, May 1995.
A large-format (24x34cm), low-circulation fanzine which is
probably going to be hard to track down. It contains the
most complete, accurate and up-to-date Cavazzano index of
those I've seen, a long interview and two non-Disney science
fiction Cavazzano stories scripted by Rudy Salvagnini. But
best of all is the optional portfolio with 12 outstanding
large-format reproductions of illustrations (tempera and
pencils) that the master did especially for this
publication.
The Yellow book (see elsewhere)...
...dedicates an entire chapter to Cavazzano. Well worth
reading. In fact, both the Mezzavilla and the Brunoro books
mentioned above quote portions of this chapter.
Cavazzano's periods
As I did with Scarpa some time ago, I'll go through Cavazzano's Disney
stories highlighting the different phases in his graphical
evolution. Cavazzano is a peculiar artist in that at various stages he
changed his style so much that it might be more appropriate to speak
of "revolution", or even "metamorphosis", instead of
"evolution". During my first ventures as a Disney philologist many
years ago, I even thought that "Bel Tratto Sottile" and "Techno" were
two completely different people! Thus a chronological analysis of
Cavazzano's work is particularly interesting and revealing, as it
pinpoints those narrow transitions between periods that highlight the
continuity within the metamorphosis.
Once again let me warn you that the names of these phases are of my
own invention and that, as with anything related to aesthetic
judgement, you might have wildly different opinions on the subject. I
based my study on the chronological index by Luigi Marcianr contained
in the Gulliver fanzine referred to above, which I consider to be the
most accurate so far.
[...]
Frank (Filologo Disneyano) http://www.cam-orl.co.uk/~fms
--------------------------------
End of Disney comics Digest V96 Issue #101
******************************************
the web page for Giorgio Cavazzano. I still have to complete the art
periods section and I still have to add all the pictures, but the bulk
of the text is done, so I can post it to the list. I'll mail an
announcement when I put the page online.
Giorgio Cavazzano
Unquestionably the most innovative and dynamic of all the Italian
Disney artists, Giorgio Cavazzano started his precocious Disney career
at the age of 14 as the third inker of Romano Scarpa, then 34.
Although he has written a few scripts himself, he is above all an
outstanding graphical artist. Born in Venice in 1947, Cavazzano, a
true natural talent, was already inking the pencils of his cousin
Luciano Capitanio at a mere 12. After a few years of inking practice
as Scarpa's apprentice he asked his master to let him have a go at the
pencils: his first story as a complete artist, scripted by Osvaldo
Pavese, appeared in 1967 as "Paperino e il singhiozzo a martello" (TL
611), recently reprinted in CWDNS 211. His creative curiosity got him
interested early on in many great non-Disney artists such as Uderzo,
Franquin, Jacovitti -- then virtually unknown to most of his
narrow-minded colleagues at Mondadori. Guided by a powerful urge to
innovate he boldly experimented, during the early and mid '70s, with a
new, vibrant graphic style in which the rubber-like qualities of the
traditional Disney characters merged with adventurous and realistic
rendering of machinery and techno-gadgets. His best stories from this
"techno" phase, mostly scripted by the gifted Giorgio Pezzin, stood
out so obviously from the rest that even very occasional readers would
recognise and appreciate him at once -- anyone who was a
Topolino-reading kid at the time will remember the submarine of
"Paperoga e il peso della gloria" (TL 1007, 1975) and the kamikaze
bomber of "Paperino e l'eroico smemorato" (TL 1059, 1976). He was
obviously venturing very far from the Disney canons, and anyone of
lesser talent doing the same would have simply strayed off course;
but, to bring back an often-quoted remark by comic writer Tiziano
Sclavi, "Over the years, Giorgio managed to be Cavazzano and Disney at
once. Before him, this had only been achieved by people like Carl
Barks.".
Cavazzano's influence on other Disney artists has been enormous. Taken
as an ideal of perfection by many if not most of the Italian Disney
artists of the new generation (some of whom sadly fail to see the
importance of expanding their comics culture beyond their very narrow
horizons before settling on slavish imitation of a model, however
good), he was also inspirational to the evolution of his great
contemporary Massimo De Vita.
Besides ducks and mice the eclectic venetian artist has also been
focusing his skills on many other fields. Over the course of his
career he created an amazing array of comics characters outside the
Disney universe, among which are Walkie & Talkie (1974), Oscar e Tango
(1974), Altai & Jonson (1975), Smalto & Jonny (1976), Slim Norton
(1977), Silas Finn (1979), I due colonnelli (1977), Big Bazoom (1983),
Capitan Rogers (1981), Timothie Titan (1987), Jungle Bungle (1991),
not to mention his work in advertising. He is the recipient of many
comics awards.
Bibliography
The Cavazzano fan can rejoice: our author is now rather popular. I
still feel that there is a gap to be filled, in that there is no true
ultimate book on Cavazzano yet, but the union of the sources below is
pretty good reading anyway. Sorry, but they're all in Italian.
Silvano MEZZAVILLA (ed.), Giorgio Cavazzano, Editori del Grifo,
1994, ISBN 88-7773-246-6, 128 pg, Itl 18000.
If you're interested in Cavazzano you can't miss this
one. The lavishly illustrated booklet (mostly black and
white but with some colour pictures) opens with a long
interview, goes on with 10 pages of photographs and then
offers a dozen contributions by well-known comic authors and
critics, each writing three or four pages and presenting
Cavazzano from a different angle. After this, an extensive
index of all his stories, both Disney and not.
Gianni BRUNORO, Pennelli in aria, creativit` e suggestioni
nell'opera di Giorgio Cavazzano, autore di fumetti, Libreria
dell'immagine, 1994, 48 pg, Itl. 6000.
Thin, cheap, good value. Its story index isn't too accurate,
but buy the booklet for the excellent card file on all of
Cavazzano's non-Disney characters. Worthy of note also for
its 10-page interview and for some interesting commentaries.
Gulliver n. 5, Club Amici del Fumetto, May 1995.
A large-format (24x34cm), low-circulation fanzine which is
probably going to be hard to track down. It contains the
most complete, accurate and up-to-date Cavazzano index of
those I've seen, a long interview and two non-Disney science
fiction Cavazzano stories scripted by Rudy Salvagnini. But
best of all is the optional portfolio with 12 outstanding
large-format reproductions of illustrations (tempera and
pencils) that the master did especially for this
publication.
The Yellow book (see elsewhere)...
...dedicates an entire chapter to Cavazzano. Well worth
reading. In fact, both the Mezzavilla and the Brunoro books
mentioned above quote portions of this chapter.
Cavazzano's periods
As I did with Scarpa some time ago, I'll go through Cavazzano's Disney
stories highlighting the different phases in his graphical
evolution. Cavazzano is a peculiar artist in that at various stages he
changed his style so much that it might be more appropriate to speak
of "revolution", or even "metamorphosis", instead of
"evolution". During my first ventures as a Disney philologist many
years ago, I even thought that "Bel Tratto Sottile" and "Techno" were
two completely different people! Thus a chronological analysis of
Cavazzano's work is particularly interesting and revealing, as it
pinpoints those narrow transitions between periods that highlight the
continuity within the metamorphosis.
Once again let me warn you that the names of these phases are of my
own invention and that, as with anything related to aesthetic
judgement, you might have wildly different opinions on the subject. I
based my study on the chronological index by Luigi Marcianr contained
in the Gulliver fanzine referred to above, which I consider to be the
most accurate so far.
[...]
Frank (Filologo Disneyano) http://www.cam-orl.co.uk/~fms
--------------------------------
End of Disney comics Digest V96 Issue #101
******************************************
Fumetti
Gilbert & Ferioli's panel on Italia newspaper; Frank Stayano Cavazzano
Message 96 -
1996-05-13 at 13:09:11
To Janet Gilbert:
Look at the Anonima Fumetti's web site, at the news page:
http://www.alpcom.it/fumetti/novita.htm
you'll find an image from the Italian important newspaper La Stampa. There
is a panel from your husband story (you know what I mean). When and where
was publishel that story?
To Frank Stajano:
well done! Go on with Girgio Cavazzano! I'll tell him the work you're doing:
he'll be happy!
Gianfranco Goria, cartoonist and comics divulger: (Email removed)
president of Anonima Fumetti - Italian cartoonists society: (Email removed)
http://www.alpcom.it/fumetti/
Look at the Anonima Fumetti's web site, at the news page:
http://www.alpcom.it/fumetti/novita.htm
you'll find an image from the Italian important newspaper La Stampa. There
is a panel from your husband story (you know what I mean). When and where
was publishel that story?
To Frank Stajano:
well done! Go on with Girgio Cavazzano! I'll tell him the work you're doing:
he'll be happy!
Gianfranco Goria, cartoonist and comics divulger: (Email removed)
president of Anonima Fumetti - Italian cartoonists society: (Email removed)
http://www.alpcom.it/fumetti/
Mikko Aittola
WVH Gearloose-Launchpad story
Message 97 -
1996-05-13 at 13:18:45
A long time ago here was some discussion going on about
short stories featuring Gyro Gearloose and Launchpad,
drawn by William Van Horn.
Well, if anyone still cares, one of those stories (D92208)
'ace test-pilot' (2-pager) was published last week in
Finnish Aku Ankka.
/Mikko
short stories featuring Gyro Gearloose and Launchpad,
drawn by William Van Horn.
Well, if anyone still cares, one of those stories (D92208)
'ace test-pilot' (2-pager) was published last week in
Finnish Aku Ankka.
/Mikko
Fumetti
From Franco Fossati.
Message 98 -
1996-05-13 at 22:49:36
Ok. Franco Fossati is back.
He says there is no problem. You can use his work for the archives. Just use
his name in the credits.
And the name of the magazine and so on.
Bye!
Gianfranco Goria, cartoonist and comics divulger: (Email removed)
president of Anonima Fumetti - Italian cartoonists society: (Email removed)
http://www.alpcom.it/fumetti/
He says there is no problem. You can use his work for the archives. Just use
his name in the credits.
And the name of the magazine and so on.
Bye!
Gianfranco Goria, cartoonist and comics divulger: (Email removed)
president of Anonima Fumetti - Italian cartoonists society: (Email removed)
http://www.alpcom.it/fumetti/
SRoweCanoe
Short comments from Steven Rowe
Message 99 -
1996-05-13 at 23:42:57
Don Markstein:
> Is there any particular reason you've recommended me to tell about the
>AIR PIRATES stuff? (Other than the fact that I turned 21 during the 1960s,
>that is.)
No, earth shattering reason. I didn't mean to imply that your were there
yourself. But your stating that there was a #3, certainly more than
justifies mentioning you. I know that Tortoise and the Hare was intended for
#3, printing everything but a Mickey Mouse story. It was also part of the
suit against the Air Pirates.
David Gerstein: Nice to see that someone other than me uses the code "os",
rather than "fc".
Harald Havas
>>DISNEY 3-D
My "Overstreet Price Guide" (1994 edition) lists the Disney 3D in
near mint condition with 3 U$ - I dont think it has skyrocked since
- in a market of over-priced Superduperguys, people wont kill each
other for the possession of Disney comics... <<
The 1996 version still lists it as $3. I also see that they list
more and more Disney non-comics (Disneyland magazine goes for $20 an issue??)
Rich Morrissey was here a few days back. I assume he will return to the
Disney digest shortly. Not too much Disny talk, but he did show me several
ways to id writers.
Steven Rowe
> Is there any particular reason you've recommended me to tell about the
>AIR PIRATES stuff? (Other than the fact that I turned 21 during the 1960s,
>that is.)
No, earth shattering reason. I didn't mean to imply that your were there
yourself. But your stating that there was a #3, certainly more than
justifies mentioning you. I know that Tortoise and the Hare was intended for
#3, printing everything but a Mickey Mouse story. It was also part of the
suit against the Air Pirates.
David Gerstein: Nice to see that someone other than me uses the code "os",
rather than "fc".
Harald Havas
>>DISNEY 3-D
My "Overstreet Price Guide" (1994 edition) lists the Disney 3D in
near mint condition with 3 U$ - I dont think it has skyrocked since
- in a market of over-priced Superduperguys, people wont kill each
other for the possession of Disney comics... <<
The 1996 version still lists it as $3. I also see that they list
more and more Disney non-comics (Disneyland magazine goes for $20 an issue??)
Rich Morrissey was here a few days back. I assume he will return to the
Disney digest shortly. Not too much Disny talk, but he did show me several
ways to id writers.
Steven Rowe
L.Gori
English Booklet on "Disney italiani"
Message 100 -
1996-05-14 at 00:57:36
To DON, FRANK, and ALL:
Hmmm... I had a lot of work to do, so I didn't read the last digests:
but I think I found what kind of "booklet" is the book on Italian Disney
Authors the fellows of "Fumo di China" gave to Don... I Think it is the
translation of a catalogue of the exposition at Falconara Marittima (1993).
The title is: "I personaggi della Banda Disney" (The Disney gang's
characters): a little on Gottfredson and Barks, a lot on Scarpa, Carpi,
Cavazzano, etc., some interviews (to Gaudenzio Capelli, former Editor of
"Topolino", G.B. Carpi, R. Santillo, R. Scarpa, etc.).
I have some copies (in Italian!): if anyone in Italy is interested...
Bye
Leonardo Gori
--- MMMR v4.50reg * "Mental rating! Ability! Experience! FOOEY!" (F.
Gottfredson, Mickey Mouse and The Pirate Submarine",
1935)
Hmmm... I had a lot of work to do, so I didn't read the last digests:
but I think I found what kind of "booklet" is the book on Italian Disney
Authors the fellows of "Fumo di China" gave to Don... I Think it is the
translation of a catalogue of the exposition at Falconara Marittima (1993).
The title is: "I personaggi della Banda Disney" (The Disney gang's
characters): a little on Gottfredson and Barks, a lot on Scarpa, Carpi,
Cavazzano, etc., some interviews (to Gaudenzio Capelli, former Editor of
"Topolino", G.B. Carpi, R. Santillo, R. Scarpa, etc.).
I have some copies (in Italian!): if anyone in Italy is interested...
Bye
Leonardo Gori
--- MMMR v4.50reg * "Mental rating! Ability! Experience! FOOEY!" (F.
Gottfredson, Mickey Mouse and The Pirate Submarine",
1935)
Dan Shane
Disney comics Digest V96 #101
Message 101 -
1996-05-14 at 01:09:02
DAVID GERSTEIN:
Congratulations on your 4-STAR rating in NETGUIDE, what I consider the
best journal of online services and Web sites. The attention was given
to your Felix the Cat area, but that's okay -- it's bound to cause
curiosity about everything you have on the server.
The one unfortunate thing about the honor is that it was in the JUST FOR
KIDS section of the Cyberguide.
Did NETGUIDE just happen on the site by surfing or was it suggested by
someone that the staff visit your page?
Congratulations on your 4-STAR rating in NETGUIDE, what I consider the
best journal of online services and Web sites. The attention was given
to your Felix the Cat area, but that's okay -- it's bound to cause
curiosity about everything you have on the server.
The one unfortunate thing about the honor is that it was in the JUST FOR
KIDS section of the Cyberguide.
Did NETGUIDE just happen on the site by surfing or was it suggested by
someone that the staff visit your page?
Donald D. Markstein
Junkville Journal
Message 102 -
1996-05-14 at 15:19:46
DAVID --
"Why shelve UNCENSORED MOUSE with Dan O' Neill's underground rip-offs?"
Because they're both unauthorized and neither fills a bag by itself. I
file my comics so I can find them again, not necessarily by what strikes anybody
else as logic.
HARALD HAVAS --
Robert W. Service is kind of America's answer to Kipling. His
often-humorous, usually story-laden, and always impeccably metered and rhymed
work concentrates mostly on the far-northern part of this continent, but
exceptions range from the tropics to Lenin's tomb. His best-known work is
probably "The Face on the Bar Room Floor", but my personal favorite is "The
Ballad of Salvation Bill", in which a heathenish sourdough finds God while using
the pages of a Bible for cigarette papers. He is credited by many as the author
of "The Ballad of Eskimo Nell", a hilarious but VERY raunchy anonymous work that
has achieved worldwide notoriety (I've seen references to it from both England
and Australia that seem to indicate most readers would be expected to know it)
through mostly-underground distribution over a period of many decades. I believe
he died in the mid-1940s. (As you may have guessed, I'm a fan of his.) (Sorry
for going off-topic. My rant on this subject is finished now.)
--------------------------------
End of Disney comics Digest V96 Issue #102
******************************************
"Why shelve UNCENSORED MOUSE with Dan O' Neill's underground rip-offs?"
Because they're both unauthorized and neither fills a bag by itself. I
file my comics so I can find them again, not necessarily by what strikes anybody
else as logic.
HARALD HAVAS --
Robert W. Service is kind of America's answer to Kipling. His
often-humorous, usually story-laden, and always impeccably metered and rhymed
work concentrates mostly on the far-northern part of this continent, but
exceptions range from the tropics to Lenin's tomb. His best-known work is
probably "The Face on the Bar Room Floor", but my personal favorite is "The
Ballad of Salvation Bill", in which a heathenish sourdough finds God while using
the pages of a Bible for cigarette papers. He is credited by many as the author
of "The Ballad of Eskimo Nell", a hilarious but VERY raunchy anonymous work that
has achieved worldwide notoriety (I've seen references to it from both England
and Australia that seem to indicate most readers would be expected to know it)
through mostly-underground distribution over a period of many decades. I believe
he died in the mid-1940s. (As you may have guessed, I'm a fan of his.) (Sorry
for going off-topic. My rant on this subject is finished now.)
--------------------------------
End of Disney comics Digest V96 Issue #102
******************************************
David A Gerstein
Disney comics Digest V96 #102
Message 103 -
1996-05-14 at 17:02:08
DAN SHANE:
What does Net Guide say about my site besides rating it? You
can e-mail me about this if you want. >Sigh< The "Just for Kids"
classification of it disappoints me, for although I meant for kids to
enjoy the site, I intended it for hard-core cartoon fans, too, who
might avoid a page they thought was aimed at children. (I'd have done
such a page for Disney comics, but... ahem... Per already has it ;-)
THE GLADSTONE WEBSITE
is getting more visitors now! Great! I'll be adding a new
"Year that Was" column next week as well as updating the "This month's
Gladstones" column with summaries and some pictures. But this will
wait until after final exams...
The address of the page will change somewhat in a bit, as I'll
be administering it through a friend's site after leaving campus
myself (when they'll shut down my account). The design of the page
will not change much, I don't think.
MIKKO:
Thanks for the news! I've wanted to see the Van Horn Gyro
2-pagers for some time now, and now I can pass along the word to
Gladstone that they can now print the first one.
David Gerstein
<(Email removed)>
What does Net Guide say about my site besides rating it? You
can e-mail me about this if you want. >Sigh< The "Just for Kids"
classification of it disappoints me, for although I meant for kids to
enjoy the site, I intended it for hard-core cartoon fans, too, who
might avoid a page they thought was aimed at children. (I'd have done
such a page for Disney comics, but... ahem... Per already has it ;-)
THE GLADSTONE WEBSITE
is getting more visitors now! Great! I'll be adding a new
"Year that Was" column next week as well as updating the "This month's
Gladstones" column with summaries and some pictures. But this will
wait until after final exams...
The address of the page will change somewhat in a bit, as I'll
be administering it through a friend's site after leaving campus
myself (when they'll shut down my account). The design of the page
will not change much, I don't think.
MIKKO:
Thanks for the news! I've wanted to see the Van Horn Gyro
2-pagers for some time now, and now I can pass along the word to
Gladstone that they can now print the first one.
David Gerstein
<(Email removed)>
Don Rosa
Disney comics Digest V96 #102
Message 104 -
1996-05-15 at 09:22:00
LEONARDO:
No, no, this "booklet" sent to me by the FUMO DI CHINA people is not the
magazine about Italian Disney authors that you mention. Looks like I need to
take it all apart and make a trip into town to a copy store for you and Frank.
No, no, this "booklet" sent to me by the FUMO DI CHINA people is not the
magazine about Italian Disney authors that you mention. Looks like I need to
take it all apart and make a trip into town to a copy store for you and Frank.
Frank Stajano
Disney comics Digest V96 #102
Message 105 -
1996-05-15 at 13:17:09
GIANFRANCO:
Thanks for your kind words and above all for letting Cavazzano
know. Do you know if he has web access? Otherwise I could send him a
printout when the page is done.
Thanks too for relaying Fossati's permission.
Frank (Filologo Disneyano) http://www.cam-orl.co.uk/~fms
Thanks for your kind words and above all for letting Cavazzano
know. Do you know if he has web access? Otherwise I could send him a
printout when the page is done.
Thanks too for relaying Fossati's permission.
Frank (Filologo Disneyano) http://www.cam-orl.co.uk/~fms