MARCO & AUGIE:
Indeed, boycotts are an estimable resource, and much better than
lynching or pitchforks, or even the ancient art of stoning. Boycotts
have done well in the long run in South Africa, helping to move toward
full democracy there.
A similar boycott is finally starting to gather a little steam against
Myanmar (formerly Burma), the veiled reference in the Asian distributed
ON THE BALL, which currently still suffers under a brutal regeime
supressing the duly-elected and Nobel Peace-prize winning leader of that
country.
Civility IS a weapon against tyranny.
--
riverrun past Eve's and Adam's from swerve of shore to bend of bay
(Email removed) -=*=- http://users.aol.com/dcrawson/home.htm
Author
Topic: 199706
(255 messages)
Dave Rawson
Disney comics Digest V97 #128
Message 181 -
1997-06-23 at 07:10:21
Frank Fabian
Rosa news item
Message 182 -
1997-06-23 at 09:33:19
Hi gang,
just wanted to let the interested know that there is a short article about
Don in the German weekly newsmagazine "Der Spiegel". It focuses on the
recently published German album version of "Guardians of the Lost Library",
with a headline obviously meant as an eye-catcher ("Power girlies in the
Junior Woodchucks"). It also calls Don a "worthy successor to the great Carl
Barks". It seems that Don is indeed quite well known in Europe ...
Best regards, Frank
****************************************************************************
*******************
Wuerttembergische Landesbibliothek Frank Fabian
Abt. Katalogisierung Periodika (KaP) Tel.: +49
711/212- 4383
Konrad-Adenauer Str. 8 / Postfach 10 54 41 Fax.: +49 711/212-4437
70173 Stuttgart / 70047 Stuttgart mail:
(Email removed)
WWW: http://www.wlb-stuttgart.de
****************************************************************************
*******************
just wanted to let the interested know that there is a short article about
Don in the German weekly newsmagazine "Der Spiegel". It focuses on the
recently published German album version of "Guardians of the Lost Library",
with a headline obviously meant as an eye-catcher ("Power girlies in the
Junior Woodchucks"). It also calls Don a "worthy successor to the great Carl
Barks". It seems that Don is indeed quite well known in Europe ...
Best regards, Frank
****************************************************************************
*******************
Wuerttembergische Landesbibliothek Frank Fabian
Abt. Katalogisierung Periodika (KaP) Tel.: +49
711/212- 4383
Konrad-Adenauer Str. 8 / Postfach 10 54 41 Fax.: +49 711/212-4437
70173 Stuttgart / 70047 Stuttgart mail:
(Email removed)
WWW: http://www.wlb-stuttgart.de
****************************************************************************
*******************
Kriton Kyrimis
Disney comics Digest V97 #128
Message 183 -
1997-06-23 at 10:33:21
> ENTERING
> SQUASH
> COUNTY
>
> DON'T PICKA
> DA PUNK!
>
> Somehow I get a feeling there's some joke I don't get here. Why
> squash? What punk shouldn't be picked on? Please someone explain!
> Am I just dense, or can I conveniently blame my not understanding this
> on being a foreigner?
Here's what another foreigner makes of this sign:
"Squash" is a family of vegetables, including the zucchini (also known as
courgette or marrow), and the pumpkin. Thus, a county named "squash county",
is probably famed for its squash crops. The "don't picka da punk" phrase,
would suggest that this county is inhhabited by immigrants who, in a
stereotypical bigotted fashion, are supposed to be unable to speak (or write!)
proper English. Thus, instead of "do not pick the pumpkins", they would write
"don't picka da punk".
Any company that would ban "war of the Wendigo" should have *burnt* all
existing copies of a story with such a sign if they wanted to be consistent.
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"You don't just get up in the morning, eat your cornflakes, and go out and
change history."
-----
> SQUASH
> COUNTY
>
> DON'T PICKA
> DA PUNK!
>
> Somehow I get a feeling there's some joke I don't get here. Why
> squash? What punk shouldn't be picked on? Please someone explain!
> Am I just dense, or can I conveniently blame my not understanding this
> on being a foreigner?
Here's what another foreigner makes of this sign:
"Squash" is a family of vegetables, including the zucchini (also known as
courgette or marrow), and the pumpkin. Thus, a county named "squash county",
is probably famed for its squash crops. The "don't picka da punk" phrase,
would suggest that this county is inhhabited by immigrants who, in a
stereotypical bigotted fashion, are supposed to be unable to speak (or write!)
proper English. Thus, instead of "do not pick the pumpkins", they would write
"don't picka da punk".
Any company that would ban "war of the Wendigo" should have *burnt* all
existing copies of a story with such a sign if they wanted to be consistent.
--
Kriton (e-mail: (Email removed))
(WWW: http://dias.cti.gr/~kyrimis
-----
"You don't just get up in the morning, eat your cornflakes, and go out and
change history."
-----
Dan Shane
Disney comics Digest V97 #128
Message 184 -
1997-06-23 at 16:23:57
PER:
ENTERING
SQUASH
COUNTY
DON'T PICKA
DA PUNK!
Squash is a generic term for vine-grown vegetables (gourds, actually), and
one of the most popular varieties of squash is the pumpkin. Living in
Kentucky (not far from Don, as it happens), I've grown up used to hearing
"pumpkin" incorrectly pronounced (and sometimes spelled!) as "punkin". So
the joke as I read it means don't pick a pumpkin in a county that's bound
to be full of them. I think it's a clever play on words, but only for
those used to local dialectically-induced misspellings.
Dan Shane
(Email removed)
http://www.win.net/~homebrew/scroohome.htm
ENTERING
SQUASH
COUNTY
DON'T PICKA
DA PUNK!
Squash is a generic term for vine-grown vegetables (gourds, actually), and
one of the most popular varieties of squash is the pumpkin. Living in
Kentucky (not far from Don, as it happens), I've grown up used to hearing
"pumpkin" incorrectly pronounced (and sometimes spelled!) as "punkin". So
the joke as I read it means don't pick a pumpkin in a county that's bound
to be full of them. I think it's a clever play on words, but only for
those used to local dialectically-induced misspellings.
Dan Shane
(Email removed)
http://www.win.net/~homebrew/scroohome.htm
Poul S. Frøkjær
Value of Disney comics 1952 - 60
Message 185 -
1997-06-23 at 17:05:33
DEBORAH:
I'm probably not the best guy to advice you on the prices on American
Disney comics as It's nearly ten years ago I bought any of the old
ones. However I haven't seen any other commenting on this so here I
go.
I understand your question as you have some comics and want to know
how much they might be worth (right?). The book I remember using
(when buying) was Overstreets Price Guide. I believe that this is
still the one used when it comes to pricing old comics. There's a new
edition issued every year and you will find it in almost any comic
book store. Remember the prices stated in the book are selling prices
which means that a store would of course pay less in order to make a
profit.
The prices on comics vary quite a bit. This is of course depending
upon the actual comics but very much too, upon the condition of the
books. The price for a mint (and here mint means *MINT!!!*) condition
comic book may be as much as 10 times the price for the same book in
a well worn copy with name on front cover, adhesive tape, etc.
In general, the most expensive Disney comics of the 50'ies are the
Uncle $crooge comics (The first few ones cost hundreds of dollars if
in mint condition). Walt Disney's Comics & Stories from this period
are (if my memory serves me right) a lot less expensive.
I hope you can use this information.
Poul Frokjar
I'm probably not the best guy to advice you on the prices on American
Disney comics as It's nearly ten years ago I bought any of the old
ones. However I haven't seen any other commenting on this so here I
go.
I understand your question as you have some comics and want to know
how much they might be worth (right?). The book I remember using
(when buying) was Overstreets Price Guide. I believe that this is
still the one used when it comes to pricing old comics. There's a new
edition issued every year and you will find it in almost any comic
book store. Remember the prices stated in the book are selling prices
which means that a store would of course pay less in order to make a
profit.
The prices on comics vary quite a bit. This is of course depending
upon the actual comics but very much too, upon the condition of the
books. The price for a mint (and here mint means *MINT!!!*) condition
comic book may be as much as 10 times the price for the same book in
a well worn copy with name on front cover, adhesive tape, etc.
In general, the most expensive Disney comics of the 50'ies are the
Uncle $crooge comics (The first few ones cost hundreds of dollars if
in mint condition). Walt Disney's Comics & Stories from this period
are (if my memory serves me right) a lot less expensive.
I hope you can use this information.
Poul Frokjar
Mn
Rosa index
Message 186 -
1997-06-23 at 18:05:06
I hope that those who are walking around with puffed chests and claiming
*their* Rosa index is *the* index should remember that it was probably a
collaborative effort with the help of many people from around the world!
No Jr. Woodchucks medal will be bestowed for
unnecessary boasting or credit taking!
*their* Rosa index is *the* index should remember that it was probably a
collaborative effort with the help of many people from around the world!
No Jr. Woodchucks medal will be bestowed for
unnecessary boasting or credit taking!
Vidar Svendsen
Southern Baptist Convention
Message 187 -
1997-06-23 at 18:24:29
As a theologian it's interesting to follow the debate on SBC,
but isn't it a bit off topic for this mailing-list?
----------------------------------------------------------------------------
Vidar Svendsen http://home.sol.no/vsvends
One good thing about getting old is that people believe you when you say
"I don't remember"
but isn't it a bit off topic for this mailing-list?
----------------------------------------------------------------------------
Vidar Svendsen http://home.sol.no/vsvends
One good thing about getting old is that people believe you when you say
"I don't remember"
Per Starback
italian codes
Message 188 -
1997-06-23 at 18:39:12
Arild had problems searching for Italian stories on the WWW pages.
Harry answered:
> I think it *will* work when you remove the '-', and write something
> like "I 1234-A".
> You are using Per's web program. This program tries to make a Database code
> out of whatever you type in. In the Database, most Italian codes are
> stored as "I" + space + number + "-" + letter.
Correct. "I" or "J" won't matter, and no space is necessary, so
"j1234" = "i 1234" for instance. I'm not sure what kind of code Arild
used. Something like "I-1234"? That doesn't work, but that mode of
writing the code looks familiar, so I agree it ought to work.
> (BTW: this will change to "I TL 1234-A" in the near future.)
What common ways of writing Italian codes are there? If no
designation is made of what the book is, it's always Topolino,
so "I 1234" = "I-1234" = "I TL 1234".
And "A" or "AT" both means Almanacco Topolino, right? (So
"I AT-17" = "I A-17" = "I-AT 17" = "I-A 17".) And in all cases it
could be "J" instead of "I". Are there any other popular ways of
writing Italian codes that I ought to take care of?
--------------------------------
End of Disney comics Digest V97 Issue #129
******************************************
Harry answered:
> I think it *will* work when you remove the '-', and write something
> like "I 1234-A".
> You are using Per's web program. This program tries to make a Database code
> out of whatever you type in. In the Database, most Italian codes are
> stored as "I" + space + number + "-" + letter.
Correct. "I" or "J" won't matter, and no space is necessary, so
"j1234" = "i 1234" for instance. I'm not sure what kind of code Arild
used. Something like "I-1234"? That doesn't work, but that mode of
writing the code looks familiar, so I agree it ought to work.
> (BTW: this will change to "I TL 1234-A" in the near future.)
What common ways of writing Italian codes are there? If no
designation is made of what the book is, it's always Topolino,
so "I 1234" = "I-1234" = "I TL 1234".
And "A" or "AT" both means Almanacco Topolino, right? (So
"I AT-17" = "I A-17" = "I-AT 17" = "I-A 17".) And in all cases it
could be "J" instead of "I". Are there any other popular ways of
writing Italian codes that I ought to take care of?
--------------------------------
End of Disney comics Digest V97 Issue #129
******************************************
Harry Fluks
Rosa index / Italian story codes
Message 189 -
1997-06-23 at 19:33:44
Michael:
> I hope that those who are walking around with puffed chests and claiming
> *their* Rosa index is *the* index should remember that it was probably a
> collaborative effort with the help of many people from around the world!
If you mean me: my name is Harry.
It was certainly not my intention to imply that I made "my" index all by myself.
BTW: a new version of the Rosa index is now on my web pages:
http://www.pi.net/~fluks4/dcd.htm
there you find a Don Rosa index for a lot of countries, accompanied by a list
of the major contributors - it's near-impossible to list *every* contributor!
[I must admit that I *am* proud of that index...]
Per:
I leave your question about Italian story codes to Marco Barlotti: he knows
a lot more about that than I do.
--Harry.
> I hope that those who are walking around with puffed chests and claiming
> *their* Rosa index is *the* index should remember that it was probably a
> collaborative effort with the help of many people from around the world!
If you mean me: my name is Harry.
It was certainly not my intention to imply that I made "my" index all by myself.
BTW: a new version of the Rosa index is now on my web pages:
http://www.pi.net/~fluks4/dcd.htm
there you find a Don Rosa index for a lot of countries, accompanied by a list
of the major contributors - it's near-impossible to list *every* contributor!
[I must admit that I *am* proud of that index...]
Per:
I leave your question about Italian story codes to Marco Barlotti: he knows
a lot more about that than I do.
--Harry.
Deckerd
Southern Baptists
Message 190 -
1997-06-23 at 20:30:44
On Jun 21, 8:12pm, Augie De Blieck Jr. wrote:
> Subject: Southern Baptists
> "Luna Storta" wrote:
>
> >ABOUT THE SOUTHERN BAPTIST CONVENTION'S VOTE:
> > I can't belive that in the USA are really such opinion movements: I
> >always thought that it was just a movie-feature... Really I can't belive
> >that in a so-called democratic counrty some people can IMPOSE their
> >opinion on other ones!!!
>
> They're not. They are not trying to impose their view on anyone, now have
> they. They are merely using their pocket book in true, capitalist fashion in
> an attempt to put pressure on a company to change its policies. They are
> practicing the true art of democracy and freedom and capitalism, not
destroying
> it.
>
I think this is a consequence of Disney's family image having trouble
keeping up with its explosive growth as a major mega-corporation. The
company isn't just kindly Unca Walt and a few animators telling warm-
hearted stories about lovable funny animals just to entertain children.
Walt knew better than anyone that the company couldn't stay that way
and survive, and so the move into live action movies and theme parks.
If anything, the company's floundering after Walt's death and in the
'70s proved that it had to grow or die. Now it's a vast entertainment
conglomerate, but it still has the image and the name. The Southern
Baptists, like many others, see the name "Disney" and think kindly
Unca Walt, and are severely disillusioned when they realize it's just
a big company like Warners or Paramount. Maybe the company should have
changed its name to something impersonal after Walt's death, like
"WEDco," and kept "Disney" strictly as a brand name for the family
entertainment business, I dunno. Now it's too late: even when they
try to market the cutting edge stuff under different labels like
"Touchstone" or "Hollywood" or "Miramax," everybody knows it's Disney
what owns 'em.
Ultimately, people have the power of choice. If you don't like what's
on TV, it has an OFF button. Don't like the movies they're showing?
You don't have to buy a ticket. That's the best strategy, I think.
--Dwight Decker
> Subject: Southern Baptists
> "Luna Storta" wrote:
>
> >ABOUT THE SOUTHERN BAPTIST CONVENTION'S VOTE:
> > I can't belive that in the USA are really such opinion movements: I
> >always thought that it was just a movie-feature... Really I can't belive
> >that in a so-called democratic counrty some people can IMPOSE their
> >opinion on other ones!!!
>
> They're not. They are not trying to impose their view on anyone, now have
> they. They are merely using their pocket book in true, capitalist fashion in
> an attempt to put pressure on a company to change its policies. They are
> practicing the true art of democracy and freedom and capitalism, not
destroying
> it.
>
I think this is a consequence of Disney's family image having trouble
keeping up with its explosive growth as a major mega-corporation. The
company isn't just kindly Unca Walt and a few animators telling warm-
hearted stories about lovable funny animals just to entertain children.
Walt knew better than anyone that the company couldn't stay that way
and survive, and so the move into live action movies and theme parks.
If anything, the company's floundering after Walt's death and in the
'70s proved that it had to grow or die. Now it's a vast entertainment
conglomerate, but it still has the image and the name. The Southern
Baptists, like many others, see the name "Disney" and think kindly
Unca Walt, and are severely disillusioned when they realize it's just
a big company like Warners or Paramount. Maybe the company should have
changed its name to something impersonal after Walt's death, like
"WEDco," and kept "Disney" strictly as a brand name for the family
entertainment business, I dunno. Now it's too late: even when they
try to market the cutting edge stuff under different labels like
"Touchstone" or "Hollywood" or "Miramax," everybody knows it's Disney
what owns 'em.
Ultimately, people have the power of choice. If you don't like what's
on TV, it has an OFF button. Don't like the movies they're showing?
You don't have to buy a ticket. That's the best strategy, I think.
--Dwight Decker
Per Starback
Goofy's nephew Gilbert
Message 191 -
1997-06-23 at 21:44:28
When and where did Goofy's nephew Gilbert debut? In Goofy OS 562
(May 1954) is a story described as "Gilbert on visit" in the DcD,
which knows of no other publications of this story than the original
one. The story is drawn by Bill Wright.
I find no earlier stories with him, and the rather non-specific "on
visit" sounds like it might be his first visit to uncle Goofy,
although I haven't read that story. Does anyone know if this is his
debut?
--
Per Starback, goofy uncle <(Email removed)>
(May 1954) is a story described as "Gilbert on visit" in the DcD,
which knows of no other publications of this story than the original
one. The story is drawn by Bill Wright.
I find no earlier stories with him, and the rather non-specific "on
visit" sounds like it might be his first visit to uncle Goofy,
although I haven't read that story. Does anyone know if this is his
debut?
--
Per Starback, goofy uncle <(Email removed)>
Harry Fluks
Disney comics Database: new version
Message 192 -
1997-06-23 at 22:53:53
Per Starback just uploaded a new version of the Disney comics
Database on the ftp site! For the moment, the Web pages still
use the January version, but I guess Per will fix that soon.
(The Rosa and Van Horn indexes on www.pi.net/~fluks4/dcd.htm
already use the new version.)
Here's what's new in this June version:
- USA (western):
- Johan Nilsson: 532 (!) Gold Key and Whitman issues (DD, MM, US, D&D, JW,
SG, WDC, WDCD, WDS, WTP and more)
- Germund Silvegren: 8 Gold Key issues
- Various people: some issues
- USA (newspapers):
- David Gerstein: additions to the DD silly symphonies and MM sunday strips
- USA (modern):
- Gerd Cebulla: CBL index (with page numbers), taken from a public domain
Barks index
- David Gerstein: complete index of Gerstein
- Pat & Shelly Block (via Gerstein): complete index of the Blocks
- Jonathan Markoff, David Gerstein & Harry Fluks: recent Gladstone issues
- Jonathan Markoff: some Marvel, Abbeville, and various issues
- Steven Rowe: some Disney Adventures
- DENMARK:
- Ole Reichstein Nielsen: (almost) complete Danish index
- ITALY:
- Marco Barlotti & Frank Stajano: renewed Italian story (Fossati) index
now also covering Almanacco Topolino
- Ole Reichstein Nielsen: improved Italian issue (Benassi) index
- Frank Stajano & Alberto Becattini: Italian Don Rosa index
- FRANCE:
- Didier Ghez: French Don Rosa index (no titles, no covers)
- FINLAND:
- Juha Tynninen: Finnish titles and update of Don Rosa index
- GERMANY:
- Gilbert Roser: German index 1980-1988, OD 1-23, PK, KA + recent issues
- Alexander Gruenke: German pocket books (LT 1-34)
- THE NETHERLANDS:
- Frank Jonker (via Fluks): complete index of Jonker
- Branko Collin: complete index of Collin
- Pieter van Cleef / Thom Roep (GP): update H-coded story index:
1979, 1996-1997
- Harry Fluks: Dutch index, additions (thanks to GP) + recent issues
- Harry Fluks: double-checked Dutch issue index with Matla catalogue
- SWEDEN:
- Anders Engwall: 2 Swedish issues and some error corrections
- GENERAL:
- Harry Fluks: an Index of Indexes (first draft version) has been added
as a text file (indexind.txt).
- FOR PROGRAMMERS (mostly Bent and Per):
- the "gather" option now has a parameter "allowed title countries"
(Bent Pedersen: adjust the "doit.bat" file to your wishes)
- story codes changed as indicated by [oldcode:]. The field [oldcodea:]
refers to the code changes in the previous version (January, 1997).
Italian story codes have been normalised, and [oldcode:] is not used
there. The most important change in Italian codes is
"I 1234-A" --> "I TL 1234-A".
That it!
And several people promised more data for future versions!
--Harry.
Database on the ftp site! For the moment, the Web pages still
use the January version, but I guess Per will fix that soon.
(The Rosa and Van Horn indexes on www.pi.net/~fluks4/dcd.htm
already use the new version.)
Here's what's new in this June version:
- USA (western):
- Johan Nilsson: 532 (!) Gold Key and Whitman issues (DD, MM, US, D&D, JW,
SG, WDC, WDCD, WDS, WTP and more)
- Germund Silvegren: 8 Gold Key issues
- Various people: some issues
- USA (newspapers):
- David Gerstein: additions to the DD silly symphonies and MM sunday strips
- USA (modern):
- Gerd Cebulla: CBL index (with page numbers), taken from a public domain
Barks index
- David Gerstein: complete index of Gerstein
- Pat & Shelly Block (via Gerstein): complete index of the Blocks
- Jonathan Markoff, David Gerstein & Harry Fluks: recent Gladstone issues
- Jonathan Markoff: some Marvel, Abbeville, and various issues
- Steven Rowe: some Disney Adventures
- DENMARK:
- Ole Reichstein Nielsen: (almost) complete Danish index
- ITALY:
- Marco Barlotti & Frank Stajano: renewed Italian story (Fossati) index
now also covering Almanacco Topolino
- Ole Reichstein Nielsen: improved Italian issue (Benassi) index
- Frank Stajano & Alberto Becattini: Italian Don Rosa index
- FRANCE:
- Didier Ghez: French Don Rosa index (no titles, no covers)
- FINLAND:
- Juha Tynninen: Finnish titles and update of Don Rosa index
- GERMANY:
- Gilbert Roser: German index 1980-1988, OD 1-23, PK, KA + recent issues
- Alexander Gruenke: German pocket books (LT 1-34)
- THE NETHERLANDS:
- Frank Jonker (via Fluks): complete index of Jonker
- Branko Collin: complete index of Collin
- Pieter van Cleef / Thom Roep (GP): update H-coded story index:
1979, 1996-1997
- Harry Fluks: Dutch index, additions (thanks to GP) + recent issues
- Harry Fluks: double-checked Dutch issue index with Matla catalogue
- SWEDEN:
- Anders Engwall: 2 Swedish issues and some error corrections
- GENERAL:
- Harry Fluks: an Index of Indexes (first draft version) has been added
as a text file (indexind.txt).
- FOR PROGRAMMERS (mostly Bent and Per):
- the "gather" option now has a parameter "allowed title countries"
(Bent Pedersen: adjust the "doit.bat" file to your wishes)
- story codes changed as indicated by [oldcode:]. The field [oldcodea:]
refers to the code changes in the previous version (January, 1997).
Italian story codes have been normalised, and [oldcode:] is not used
there. The most important change in Italian codes is
"I 1234-A" --> "I TL 1234-A".
That it!
And several people promised more data for future versions!
--Harry.
Harry Fluks
What is the Database and where can I find it?
Message 193 -
1997-06-23 at 22:58:39
(I posted this before in January, but here it is again, as a reminder
and for new members. - HF)
THE DISNEY COMICS DATABASE
The Disney comics Database (DcD) is a large set of files containing
information about Disney comic stories. We aim to include every story
made anywhere, plus all publications of that story in the most
important countries.
A lot of people from the Disney comics Mailing List have helped in
gathering all the information. Besides that, the most important published
indexes about Disney comics are included in the database.
There are several ways you can get information out of this database.
1. Get listing files from the ftp site. There you find formatted files
with information about a specific country's publications (for instance
the USA, Sweden, France), and stories produced by a specific country
(for instance Denmark, Holland, France).
These files are usually very big, but they contain complete information.
2. Look at the Disney comics website, in the "creators" section. There
you can find indexes for all creators. For instance an index
of the work of Tony Strobl. You can choose to have all known publications
(in all countries) of his stories as well.
3. Look at Harry's pages, where for some creators (Don Rosa and William
Van Horn) a more extensive (and possibly more recent) index is
given.
4. You can go to one of the Disney comics webpages, and lookup a story
by its code. You then get a listing of all information about that
story, including its writer, artist, number of pages, etc. as well
as all known publications of that story.
5. Download the "internal" files from the Disney comics ftp site
(subdir "internal", files ending with ".ins", ".ine" and ".dbl").
Then download the Database browser from Bent Pedersen.
You need a PC with Windows and some dozens of megabytes disk space
to do this.
6. Download the "MS-Access" files from the Disney comics ftp site
(subdir "access", all files ending with ".acc") and import them
into MS-Access. The Access files contain a lot of information
from the Database, but not everything.
7. Ask Harry Fluks for specific listings. For instance, when you want
an index of all stories by Carl Barks where Gladstone Gander appeared.
Or all stories featuring both Fethry Duck and Hard Haid Moe.
Or anything you can think of (as long as the listing is not too big
to send in regular mail).
Addresses:
----------
The Disney comics website:
http://www.update.uu.se/~starback/disney-comics/
The Disney comics ftp site (you can also follow the links from the website):
ftp://ftp.update.uu.se/pub/comics/disney/index/
Harry's Pages:
http://www.pi.net/~fluks4/disney.htm (follow the links from there)
Bent Pedersen's browser:
http://home4.inet.tele.dk/bp/bent.html (follow the links from there)
Harry Fluks' e-mail:
mailto:(Email removed)
and for new members. - HF)
THE DISNEY COMICS DATABASE
The Disney comics Database (DcD) is a large set of files containing
information about Disney comic stories. We aim to include every story
made anywhere, plus all publications of that story in the most
important countries.
A lot of people from the Disney comics Mailing List have helped in
gathering all the information. Besides that, the most important published
indexes about Disney comics are included in the database.
There are several ways you can get information out of this database.
1. Get listing files from the ftp site. There you find formatted files
with information about a specific country's publications (for instance
the USA, Sweden, France), and stories produced by a specific country
(for instance Denmark, Holland, France).
These files are usually very big, but they contain complete information.
2. Look at the Disney comics website, in the "creators" section. There
you can find indexes for all creators. For instance an index
of the work of Tony Strobl. You can choose to have all known publications
(in all countries) of his stories as well.
3. Look at Harry's pages, where for some creators (Don Rosa and William
Van Horn) a more extensive (and possibly more recent) index is
given.
4. You can go to one of the Disney comics webpages, and lookup a story
by its code. You then get a listing of all information about that
story, including its writer, artist, number of pages, etc. as well
as all known publications of that story.
5. Download the "internal" files from the Disney comics ftp site
(subdir "internal", files ending with ".ins", ".ine" and ".dbl").
Then download the Database browser from Bent Pedersen.
You need a PC with Windows and some dozens of megabytes disk space
to do this.
6. Download the "MS-Access" files from the Disney comics ftp site
(subdir "access", all files ending with ".acc") and import them
into MS-Access. The Access files contain a lot of information
from the Database, but not everything.
7. Ask Harry Fluks for specific listings. For instance, when you want
an index of all stories by Carl Barks where Gladstone Gander appeared.
Or all stories featuring both Fethry Duck and Hard Haid Moe.
Or anything you can think of (as long as the listing is not too big
to send in regular mail).
Addresses:
----------
The Disney comics website:
http://www.update.uu.se/~starback/disney-comics/
The Disney comics ftp site (you can also follow the links from the website):
ftp://ftp.update.uu.se/pub/comics/disney/index/
Harry's Pages:
http://www.pi.net/~fluks4/disney.htm (follow the links from there)
Bent Pedersen's browser:
http://home4.inet.tele.dk/bp/bent.html (follow the links from there)
Harry Fluks' e-mail:
mailto:(Email removed)
David Gerstein
Disney comics Digest V97 #129
Message 194 -
1997-06-23 at 23:03:40
DON MARKSTEIN:
>Taking the point of view that the cartoons were "acted" as opposed to "live=
d"
>by the characters, while "lived" in the comic-book versions, it seems that
>after retiring from his acting career (he was apparently an older actor
>playing
>a younger role in the flashback, as opposed to Donald, a younger actor play=
ing
>an older role in the frame), Bootle took up residence in Bucky Bug's
>neighborhood.
Or (and this is REALLY splitting hairs about our mythology here ;-)
maybe Bootle's nephew Ezra, the usual target of Bootle's storytelling,
played the younger Bootle in Bootle's own animated flashbacks.
Bootle isn't the only rather obscure Disney character to have a
very different role off-screen than on. Bent-Tail and Bent-Tail Jr. (the
coyotes from many later Pluto cartoons) and Louie the Mountain Lion (from
various Donald and Goofy cartoons) showed up in Gil Turner's Li'l Wolf
stories, not in stories with their usual screen co-stars.
Floyd Gottfredson handled all of this the most neatly, by
explicitly showing that his Mickey held an acting job at the Disney studio
between "real" adventures. That immediately solves the problem of cartoons
that aren't canon: some are adaptations of Mickey's "real" adventures, but
others are just set-pieces.
Still, it's easy to believe that Gottfredson's Mickey (who seems to
have his life fairly well-in-order) would have a low-paying acting job now
and then, while I find it very difficult to imagine Barks' Donald as an
actor.
CHRIS:
>Like black shoeshiners and Chinese laundrymen, Italian fruit and vegetable
>salesmen were one of the standard ethnic stereotypes of American popular
>culture for a good many years.
Ironically, in Italy the fruit-salesman clich=E9 was also around --
it just indicated, I believe, an OLD-FASHIONED Italian rather than an
Italian in general. When "Oscar the Ostrich" was translated into Italian,
Tony Dinero the pet-store owner was not altered; his name became a more
high-nosed "full" version ("Antonio Dinero"), and what had been rough
Italian dialect in American English became Italian with a lot of
old-fashioned phrases.
That the story was censored here (to the point of removing all
instances of Tony's last name) is pretty ironic, in light of how beloved
its original version is in Italy. They even did a sequel, with "Antonio"
Dinero again in a major role.
David Gerstein
<(Email removed)>
Also <(Email removed)>
>Taking the point of view that the cartoons were "acted" as opposed to "live=
d"
>by the characters, while "lived" in the comic-book versions, it seems that
>after retiring from his acting career (he was apparently an older actor
>playing
>a younger role in the flashback, as opposed to Donald, a younger actor play=
ing
>an older role in the frame), Bootle took up residence in Bucky Bug's
>neighborhood.
Or (and this is REALLY splitting hairs about our mythology here ;-)
maybe Bootle's nephew Ezra, the usual target of Bootle's storytelling,
played the younger Bootle in Bootle's own animated flashbacks.
Bootle isn't the only rather obscure Disney character to have a
very different role off-screen than on. Bent-Tail and Bent-Tail Jr. (the
coyotes from many later Pluto cartoons) and Louie the Mountain Lion (from
various Donald and Goofy cartoons) showed up in Gil Turner's Li'l Wolf
stories, not in stories with their usual screen co-stars.
Floyd Gottfredson handled all of this the most neatly, by
explicitly showing that his Mickey held an acting job at the Disney studio
between "real" adventures. That immediately solves the problem of cartoons
that aren't canon: some are adaptations of Mickey's "real" adventures, but
others are just set-pieces.
Still, it's easy to believe that Gottfredson's Mickey (who seems to
have his life fairly well-in-order) would have a low-paying acting job now
and then, while I find it very difficult to imagine Barks' Donald as an
actor.
CHRIS:
>Like black shoeshiners and Chinese laundrymen, Italian fruit and vegetable
>salesmen were one of the standard ethnic stereotypes of American popular
>culture for a good many years.
Ironically, in Italy the fruit-salesman clich=E9 was also around --
it just indicated, I believe, an OLD-FASHIONED Italian rather than an
Italian in general. When "Oscar the Ostrich" was translated into Italian,
Tony Dinero the pet-store owner was not altered; his name became a more
high-nosed "full" version ("Antonio Dinero"), and what had been rough
Italian dialect in American English became Italian with a lot of
old-fashioned phrases.
That the story was censored here (to the point of removing all
instances of Tony's last name) is pretty ironic, in light of how beloved
its original version is in Italy. They even did a sequel, with "Antonio"
Dinero again in a major role.
David Gerstein
<(Email removed)>
Also <(Email removed)>
Wilmer Rivers
Effect of boycott on Disney comics
Message 195 -
1997-06-23 at 23:53:47
"Luna Storta" wrote:
> Really I can't believe that in a so-called democratic country some
> people can IMPOSE their opinion on other ones!!!
>
As a number of people have pointed out, they're not trying to impose
their views on other people. At least, not **yet.** But it scares
me that soon they very well might decide to do so, with absolutely
disastrous effects on Disney comics. More on that below.
Actually, the Southern Baptists' big gripe with Disney is that, as a
huge company prevalent in all aspects of the mass media, Disney is
trying to impose **their** opinions on others. The Baptists' gripes
intensified during this last year, when Disney subsidiary ABC both
produced and broadcast the situation comedy "Ellen", a TV show about
a gay character, played by a gay actress. The Baptists viewed this
as "propaganda" on behalf of the gay lifestyle, with which they had
already come to associate Disney, due to the "Gay Day" at Disney World
and to Disney's guaranteeing benefits to partners of gay employees.
(Incidentally, as I understand it "Gay Day" was not originally Disney's
idea, but it happened when gay groups decided on their own to go to
Disney World for a celebration. Disney didn't turn them away at the
gate. It should probably be noted that Disney World also has days set
aside to attract other groups; in particular, they have a day for a
celebration devoted to singing gospel music.)
As Dwight said,
> Ultimately, people have the power of choice. If you don't like what's
> on TV, it has an OFF button. Don't like the movies they're showing?
> You don't have to buy a ticket. That's the best strategy, I think.
>
**So far**, this is what they're doing. **But**, I wonder how long
that will last. Disney is so big that the defection of even this group
of 16 million customers will not cripple them. In particular, they
are so diversified, producing syndicated TV shows, owning (at least
in part) several different cable channels, and publishing even various
trade magazines completely unrelated to entertainment, that a boycott
is unlikely to be successful. When this turns out to be the case, then
the Southern Baptist Convention, or at least its individual membership,
may decide that simply withholding their own money from Disney isn't
enough. That's when the real touble would start.
The Southern Baptists are the largest Protestant denomination in the
USA. Recall that the literal definition of a "Protestant" is "someone
who protests". Historically, the protests were directed against the
Catholic Church, but nowadays they are directed against the popular
culture, which the Baptists denounce as "secular humanism". I fear
that it is only a matter of time until their protests take a more
agressive form than merely withholding their money from the Walt Disney
Company.
When the boycott fails to have an impact against Disney, individual
Baptists (if not the organized group) may decide to protest not just
against Disney but against Disney's distribution channel. That is,
they might boycott stores just because they carry Disney products,
or they might picket them, or they might write letters to the store
management asking them to discontinue selling Disney merchandise.
Although they might boycott companies which advertise on ABC or the
cable channels, this too is likely to be ineffective on account of
the size of the companies involved. Also, boycotting sponsors of
the "ABC Evening News" seems just too far removed from Disney. What
**would** attract their attention would be products which stand out
as being "Disney" products. And what is more readily apparent as
Disney-related than comic books bearing pictures of Donald and friends
on their covers? Protestors might refuse to patronize supermarkets
or book stores carrying such obvious symbols of the Disney empire.
Now considering how marginal the market is, what would be a grocery
store owner's response to a letter from a church group asking him to
stop selling Disney comics? There's so little profit in selling those
anyway (in the USA), that most merchants would easily decide that
continuing to sell them is more trouble than it's worth. Rather than
upset their customers by carrying "Donald Duck Adventures" and sending
its revenue on to Burbank where it would be used to produce pro-gay
propaganda (or so they are told by the letters of protest), they
would take those off there shelves, leaving only those comics which
promote wholesome, pro-family values, like "Aliens" and "Spawn".
As I say, this hasn't happened yet. But I fear that it might. And
if it does, then all of us Duck fans in the USA (yeah, all couple
hundred of us) will have to start subscribing to Scandanavian or
Italian Duck comics, because there won't be any more of them sold
around here, certainly.
Or am I being alarmist? I surely hope so. What do you think?
Wilmer Rivers
> Really I can't believe that in a so-called democratic country some
> people can IMPOSE their opinion on other ones!!!
>
As a number of people have pointed out, they're not trying to impose
their views on other people. At least, not **yet.** But it scares
me that soon they very well might decide to do so, with absolutely
disastrous effects on Disney comics. More on that below.
Actually, the Southern Baptists' big gripe with Disney is that, as a
huge company prevalent in all aspects of the mass media, Disney is
trying to impose **their** opinions on others. The Baptists' gripes
intensified during this last year, when Disney subsidiary ABC both
produced and broadcast the situation comedy "Ellen", a TV show about
a gay character, played by a gay actress. The Baptists viewed this
as "propaganda" on behalf of the gay lifestyle, with which they had
already come to associate Disney, due to the "Gay Day" at Disney World
and to Disney's guaranteeing benefits to partners of gay employees.
(Incidentally, as I understand it "Gay Day" was not originally Disney's
idea, but it happened when gay groups decided on their own to go to
Disney World for a celebration. Disney didn't turn them away at the
gate. It should probably be noted that Disney World also has days set
aside to attract other groups; in particular, they have a day for a
celebration devoted to singing gospel music.)
As Dwight said,
> Ultimately, people have the power of choice. If you don't like what's
> on TV, it has an OFF button. Don't like the movies they're showing?
> You don't have to buy a ticket. That's the best strategy, I think.
>
**So far**, this is what they're doing. **But**, I wonder how long
that will last. Disney is so big that the defection of even this group
of 16 million customers will not cripple them. In particular, they
are so diversified, producing syndicated TV shows, owning (at least
in part) several different cable channels, and publishing even various
trade magazines completely unrelated to entertainment, that a boycott
is unlikely to be successful. When this turns out to be the case, then
the Southern Baptist Convention, or at least its individual membership,
may decide that simply withholding their own money from Disney isn't
enough. That's when the real touble would start.
The Southern Baptists are the largest Protestant denomination in the
USA. Recall that the literal definition of a "Protestant" is "someone
who protests". Historically, the protests were directed against the
Catholic Church, but nowadays they are directed against the popular
culture, which the Baptists denounce as "secular humanism". I fear
that it is only a matter of time until their protests take a more
agressive form than merely withholding their money from the Walt Disney
Company.
When the boycott fails to have an impact against Disney, individual
Baptists (if not the organized group) may decide to protest not just
against Disney but against Disney's distribution channel. That is,
they might boycott stores just because they carry Disney products,
or they might picket them, or they might write letters to the store
management asking them to discontinue selling Disney merchandise.
Although they might boycott companies which advertise on ABC or the
cable channels, this too is likely to be ineffective on account of
the size of the companies involved. Also, boycotting sponsors of
the "ABC Evening News" seems just too far removed from Disney. What
**would** attract their attention would be products which stand out
as being "Disney" products. And what is more readily apparent as
Disney-related than comic books bearing pictures of Donald and friends
on their covers? Protestors might refuse to patronize supermarkets
or book stores carrying such obvious symbols of the Disney empire.
Now considering how marginal the market is, what would be a grocery
store owner's response to a letter from a church group asking him to
stop selling Disney comics? There's so little profit in selling those
anyway (in the USA), that most merchants would easily decide that
continuing to sell them is more trouble than it's worth. Rather than
upset their customers by carrying "Donald Duck Adventures" and sending
its revenue on to Burbank where it would be used to produce pro-gay
propaganda (or so they are told by the letters of protest), they
would take those off there shelves, leaving only those comics which
promote wholesome, pro-family values, like "Aliens" and "Spawn".
As I say, this hasn't happened yet. But I fear that it might. And
if it does, then all of us Duck fans in the USA (yeah, all couple
hundred of us) will have to start subscribing to Scandanavian or
Italian Duck comics, because there won't be any more of them sold
around here, certainly.
Or am I being alarmist? I surely hope so. What do you think?
Wilmer Rivers