At 20.15 1999-01-31, rob gibson wrote:
>It was before my time, but I always thought one could be "hopped up" on
>any of a number of (illegal) drugs. The default drug, I had thought,
>though, was hooch/weed/mary jane/pot/grass. Cannabis is closely related
>to Hops, the ingedient in beer. I wonder if there is any reason to
>suspect a connection(if my assumptions above are correct).
This is getting way off topic, but I will nevertheless take the liberty of
quoting a relevant passage out of Mezz Mezzrows autobiography "Really the
Blues", originally published in 1946. For those who are not familiar with
Mezzrow, he was a (not very good) jazz clarinetist in the 20s, 30s and 40s,
but he was also a notorious marihuana smoker and pusher -- the latter to
the extent that "mezz" or "the mighty mezz" or "mezzerola" became 30s/40s
slang for top grade marihuana, at least among the jazz musicians to whom he
sold the stuff.
Anyway, this passage from p. 243, shows clearly that hop is something alse
than marijuana:
"Then one day as I was coming out of the Rhythm Club, a cat stepped up and
introduced himself as Frankie Ward the drummer, and said he wanted some
gauge. We went into the alley to light up, and he said 'You ever smoke hop
Mezz? This don't compare to hop.'"
And from what follows, it becomes perfectly clear that by hop is meant
opium; Mezzrow actually goes on to become a hophead himself.
And, to cap it all, in the glossary at the end of the book, the following
explanations are given:
Gauge = marihuana
Hop = opium
Hopdog = insatiable opium addict
Hophead = opium addict
To close on a note somewhat more on topic, the reason this discussion came
about in the first place was beacuse someone asked about 40s slang
("hophead") in an early Barks 10-pager, which means that Mezzrows book is
more or less contemporary with what needed explaining. It is possible that
the usage of "hophead" in american slang has since changed, and that to
modern american ears it connotes a marihuana smoker, but I will contend
that in Barks' time it meant opium addict, and nothing else.
/Mattias, jazz addict
*** Mattias Hallin ** Brussels ** Belgium ** <(Email removed)> ***
* *
* "Oh bury me thar! With my battered git-tar! *
************* A-screamin' my heart out fer yew!" *************
--------------------------------
End of Disney comics Digest V99 Issue #19
*****************************************
Author
Topic: 199902
(198 messages)
Mattias Hallin
Hopheads
Message 1 -
1999-02-01 at 08:39:16
Don Rosa
Digest #19
Message 2 -
1999-02-01 at 09:01:42
From: "Henning Reichstein Nielsen
>>>Still, I find it silly that someone would argue that a script for a
published
comic is worth anything to anyone who hasn't already bought the pictures
for it. By buying one edition does one not have the right to enjoy the story
in whatever language one prefers?
Disney claims ownership of the script sans pictures, and individual
ownership of that script in each individual language in existance. If you
had the right (and you wouldn't) to use the script in English, that would
NOT give you any rights whatsoever to use the script in French or whatever.
>>>>But maybe it only works the other way
around, so Disney automatically owns any story, regardless of language
or whatever, as soon as it contains copyrighted characters?
They claim (and yes, it's a silly claim) that they own anything that has an
image of their character on it (or the words to a script about their
characters). They don't need to buy it, they simply automatically OWN it. Of
course, this is silly and illegal, but you would have to go to court and
spend a billion $ to tell them so. That's how American justice and law
works.
>>>So you don't have those Disney Comics in your vault containing "copies"
of your stories? ;-)
Yes, but I had to BUY them, and Disney got a royalty (which they did not
share with me, same as with the other umpteen million purchases of my work).
From: "Donald D. Markstein
"I wrote several scripts for Disney Comics. Tho I
was flabbergasted at some of the terms of the contract
(not content with worldwide rights, they claimed all
rights in the Universe), I don't recall anything in it
about not keeping a copy of my own script.
Get it out and look. The contract said that you could not make copies of
your work, and also that any copies that *were* made belonged to Disney. And
that you could not *tell* anyone that you had done the work. They wanted to
remove any evidence that you had ever had anything to do with the work. They
obviously fear future lawsuits by comic artists and writers.
>>>Still, I find it silly that someone would argue that a script for a
published
comic is worth anything to anyone who hasn't already bought the pictures
for it. By buying one edition does one not have the right to enjoy the story
in whatever language one prefers?
Disney claims ownership of the script sans pictures, and individual
ownership of that script in each individual language in existance. If you
had the right (and you wouldn't) to use the script in English, that would
NOT give you any rights whatsoever to use the script in French or whatever.
>>>>But maybe it only works the other way
around, so Disney automatically owns any story, regardless of language
or whatever, as soon as it contains copyrighted characters?
They claim (and yes, it's a silly claim) that they own anything that has an
image of their character on it (or the words to a script about their
characters). They don't need to buy it, they simply automatically OWN it. Of
course, this is silly and illegal, but you would have to go to court and
spend a billion $ to tell them so. That's how American justice and law
works.
>>>So you don't have those Disney Comics in your vault containing "copies"
of your stories? ;-)
Yes, but I had to BUY them, and Disney got a royalty (which they did not
share with me, same as with the other umpteen million purchases of my work).
From: "Donald D. Markstein
"I wrote several scripts for Disney Comics. Tho I
was flabbergasted at some of the terms of the contract
(not content with worldwide rights, they claimed all
rights in the Universe), I don't recall anything in it
about not keeping a copy of my own script.
Get it out and look. The contract said that you could not make copies of
your work, and also that any copies that *were* made belonged to Disney. And
that you could not *tell* anyone that you had done the work. They wanted to
remove any evidence that you had ever had anything to do with the work. They
obviously fear future lawsuits by comic artists and writers.
JALustig
Scripts
Message 3 -
1999-02-01 at 21:17:04
All:
The recent discussions about posting scripts on the internet has reminded me
of a couple of things I meant to do several weeks ago.
First of all, a Anders And & Co (Nr. 52-20. december 1998) featured one story
that was uncredited (D98063) "Et brag af en jul." The script was by me. The
original title in English was "Wrap Up Your Troubles." Unfortunately, I can't
(at the moment) find my file on the story which includes the artist's name.
I'll post the name of the artist as soon as I find it.
Of more importance, several weeks back I mentioned that Gladstone's Uncle
Scrooge #317 published a story of mine (D92041 "Memories"), but inadvertently
used a version of the script that was rewritten by someone else. My best guess
then and now is that the rewrite was by an editor in England. From everything
I've heard, the British editors were rewriting everyone's scripts in the early
'90s--and doing a pretty miserable job of it too.
Certainly, I wasn't happy with the bastardized version of my script published
by Gladstone. Gee, when I think of all the times Gladstone has left my name
off scripts....why couldn't this have been one of them?
Anyway, when I mentioned all this stuff weeks ago, I think I might have said
something about making my original script available to fans so that they could
see the differences. Well, I've finally got around to retyping the script. (I
wrote it back in 1992 before I was on my current computer system.)
I don't know if anyone's interested, but I will e-mail a copy to anyone who's
e-mail's me and asks for it.
By the way, I'm not necessarily disagreeing with Don Rosa about the publishing
of scripts on the web. I think it's still unclear as to what is and isn't
proper in regard to this. Still, at this point, it doesn't seem wise for a
Disney creator to set up an on-going process in which he would be essentially
publishing his own English language scripts of stories that have never been
published in English.
What I'm planning to do is somewhat different. I'm talking about sending
individual copies of a script to individuals. A version of this script has
already been published in English and there's no chance of it being reprinted
in English in the forseeable future--if ever. In addition, I should point out
that I have not included any panel descriptions in the copy of the script that
I'm making available via e-mail. This is primarily to save me time retyping.
There is another reason, however. Without the panel descriptions, the only way
this story is going to be completely understandable is if you have a copy of
Gladstone's "Uncle Scrooge #317."
Indeed, this is the only reason I'm making the script available via e-mail--so
people can compare the two versions. So, if you want to read the script, you
should really go out and buy a copy of #317--if you can find one.
Despite all of this, it's quite possible that a lawyer for the Disney
organization might object to my doing this. If so, I'll immediately stop e-
mailing copies of the script.
I'm intending to write a few comments about this stories and why I think
certain changes were made. Some of this may be of interest to people because
it involves the creative process and how it's affected by collaborating with
artists and editors. However, I'll simply include those in with the story when
I e-mail it out--assuming anyone's interested.
--John Lustig
The recent discussions about posting scripts on the internet has reminded me
of a couple of things I meant to do several weeks ago.
First of all, a Anders And & Co (Nr. 52-20. december 1998) featured one story
that was uncredited (D98063) "Et brag af en jul." The script was by me. The
original title in English was "Wrap Up Your Troubles." Unfortunately, I can't
(at the moment) find my file on the story which includes the artist's name.
I'll post the name of the artist as soon as I find it.
Of more importance, several weeks back I mentioned that Gladstone's Uncle
Scrooge #317 published a story of mine (D92041 "Memories"), but inadvertently
used a version of the script that was rewritten by someone else. My best guess
then and now is that the rewrite was by an editor in England. From everything
I've heard, the British editors were rewriting everyone's scripts in the early
'90s--and doing a pretty miserable job of it too.
Certainly, I wasn't happy with the bastardized version of my script published
by Gladstone. Gee, when I think of all the times Gladstone has left my name
off scripts....why couldn't this have been one of them?
Anyway, when I mentioned all this stuff weeks ago, I think I might have said
something about making my original script available to fans so that they could
see the differences. Well, I've finally got around to retyping the script. (I
wrote it back in 1992 before I was on my current computer system.)
I don't know if anyone's interested, but I will e-mail a copy to anyone who's
e-mail's me and asks for it.
By the way, I'm not necessarily disagreeing with Don Rosa about the publishing
of scripts on the web. I think it's still unclear as to what is and isn't
proper in regard to this. Still, at this point, it doesn't seem wise for a
Disney creator to set up an on-going process in which he would be essentially
publishing his own English language scripts of stories that have never been
published in English.
What I'm planning to do is somewhat different. I'm talking about sending
individual copies of a script to individuals. A version of this script has
already been published in English and there's no chance of it being reprinted
in English in the forseeable future--if ever. In addition, I should point out
that I have not included any panel descriptions in the copy of the script that
I'm making available via e-mail. This is primarily to save me time retyping.
There is another reason, however. Without the panel descriptions, the only way
this story is going to be completely understandable is if you have a copy of
Gladstone's "Uncle Scrooge #317."
Indeed, this is the only reason I'm making the script available via e-mail--so
people can compare the two versions. So, if you want to read the script, you
should really go out and buy a copy of #317--if you can find one.
Despite all of this, it's quite possible that a lawyer for the Disney
organization might object to my doing this. If so, I'll immediately stop e-
mailing copies of the script.
I'm intending to write a few comments about this stories and why I think
certain changes were made. Some of this may be of interest to people because
it involves the creative process and how it's affected by collaborating with
artists and editors. However, I'll simply include those in with the story when
I e-mail it out--assuming anyone's interested.
--John Lustig
Michael Naiman
Carl's birthday
Message 4 -
1999-02-02 at 18:35:59
It will soon be time again to celebrate Unca Carl's birthday! March
27th is not far away and I'd like to ask everyone to once again, please
send their greetings to the Old Duck Man! Last year's collection of goodies
ranged from hand drawn cards to a bottle of schnapps from Denmark!
Last year's delivery was only slightly delayed because of
interference from Carl's former managers. Unbeknownst to Carl, they had
given the local United Parcel Service orders NOT to deliver any packages
directly to Carl's personal residence . Upon further investigation, I
discovered that this diversion of interstate traffic was an illegal Federal
offense! After a weekend of intense dealing with the UPS bureaucracy, I was
able to contact the local UPS delivery station and retrieve the package.
Frank Stajano, my guest during this weekend, can attest to the efforts put
forward to recover the parcel!
This year, however, we will not have this problem! Let's break last
year's record for cards received and make this another joyous day for our
favorite person!
Please send all mail to:
Michael Naiman
PO Box 151029
San Diego, CA
92175-1029
USA
--------------------------------
End of Disney comics Digest V99 Issue #20
*****************************************
27th is not far away and I'd like to ask everyone to once again, please
send their greetings to the Old Duck Man! Last year's collection of goodies
ranged from hand drawn cards to a bottle of schnapps from Denmark!
Last year's delivery was only slightly delayed because of
interference from Carl's former managers. Unbeknownst to Carl, they had
given the local United Parcel Service orders NOT to deliver any packages
directly to Carl's personal residence . Upon further investigation, I
discovered that this diversion of interstate traffic was an illegal Federal
offense! After a weekend of intense dealing with the UPS bureaucracy, I was
able to contact the local UPS delivery station and retrieve the package.
Frank Stajano, my guest during this weekend, can attest to the efforts put
forward to recover the parcel!
This year, however, we will not have this problem! Let's break last
year's record for cards received and make this another joyous day for our
favorite person!
Please send all mail to:
Michael Naiman
PO Box 151029
San Diego, CA
92175-1029
USA
--------------------------------
End of Disney comics Digest V99 Issue #20
*****************************************
Don Rosa
Digest #20
Message 5 -
1999-02-02 at 19:33:29
I should have repeated in my previous Digest-message that the Disney comics
contract with the absurd claims was one used nearly 10 years ago by a failed
attempt to publish, not a contract currently in use. At least, I should hope
they learned that such contracts are not acceptable in the late 20th
Century.
And *of course* anyone can write anything they wish into *private* e-mail...
copyrighted scripts or whatever! What a thought! But posting such things on
the Internet is the same as printing it in a magazine. Stuff on the Internet
can be freely copied and reprinted and used in many ways that the copyright
owner or writer never intended... sometimes even in sleazy ways against
people. I think we know that. Eh?
contract with the absurd claims was one used nearly 10 years ago by a failed
attempt to publish, not a contract currently in use. At least, I should hope
they learned that such contracts are not acceptable in the late 20th
Century.
And *of course* anyone can write anything they wish into *private* e-mail...
copyrighted scripts or whatever! What a thought! But posting such things on
the Internet is the same as printing it in a magazine. Stuff on the Internet
can be freely copied and reprinted and used in many ways that the copyright
owner or writer never intended... sometimes even in sleazy ways against
people. I think we know that. Eh?
Marquetta Pisarcik
Distressed and Discussed!!!
Message 6 -
1999-02-02 at 20:00:22
I am @$#% near fed up with the problems that surround Disney comics in
America. I thought that Gladstone did a fantastic job! I don't know
that whole story or what grief Disney gave them, but it makes me
discussed to know that just because *one* Disney product doesn't turn a
multi-billion (or trillion) dollar profit, they chose to kill it. Makes
me want to spit nails, let me tell you!
Now, I may be an extremist when it comes to this next subject, but I
believe that because of the mindset of modern youth, (with their TV,
video games, Internet ;), etc) Comics in general have suffered a blow.
Many of my comic sources are drying up and closing down...And the kids
that I work with (ages 7-12) can hardly ever READ a comic book, let
alone their school books! This should tell our education system
something! If they can't even read "those stupid comic books" how are
they going to handled Hugo or Dickens?
I don't know what the answer is in getting Disney comics back in the
USA, and I'm not even going to start in on that subject, but I hate to
be the one to feel the blow of losing the comics that I've enjoyed
reading and collecting for the past 12 years. I know that every company
is out to make a profit...maybe I should have bought even more comics
than I did, maybe I could have even encouraged my students to read them
more---All I know is that I've lost a favorite past-time and can only
hope that it return from the ashes someday.
Sorry for the venting...I'm just one frustrated comic book fan...
Marquetta
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
America. I thought that Gladstone did a fantastic job! I don't know
that whole story or what grief Disney gave them, but it makes me
discussed to know that just because *one* Disney product doesn't turn a
multi-billion (or trillion) dollar profit, they chose to kill it. Makes
me want to spit nails, let me tell you!
Now, I may be an extremist when it comes to this next subject, but I
believe that because of the mindset of modern youth, (with their TV,
video games, Internet ;), etc) Comics in general have suffered a blow.
Many of my comic sources are drying up and closing down...And the kids
that I work with (ages 7-12) can hardly ever READ a comic book, let
alone their school books! This should tell our education system
something! If they can't even read "those stupid comic books" how are
they going to handled Hugo or Dickens?
I don't know what the answer is in getting Disney comics back in the
USA, and I'm not even going to start in on that subject, but I hate to
be the one to feel the blow of losing the comics that I've enjoyed
reading and collecting for the past 12 years. I know that every company
is out to make a profit...maybe I should have bought even more comics
than I did, maybe I could have even encouraged my students to read them
more---All I know is that I've lost a favorite past-time and can only
hope that it return from the ashes someday.
Sorry for the venting...I'm just one frustrated comic book fan...
Marquetta
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Willot Eleve Promo 98
Picsou
Message 7 -
1999-02-03 at 11:22:47
ALL:
Today, a new issue of Picsou hits the stand. It's much bigger than before,
unfortunately with the same number of comics. It only contains Barks and
Branca stories and The French Master Spy by Don Rosa. It also has a new
illustration of Don, number 10 he did for Picsou (or 9, since I think one
of them was only a reprint of a Gladstone cover).
There are some new things however. First Picsou prints the full credits
of every story even Danish, like Zio Paperone. And there are some nice
Taliaferro strips at the end.
They had a big problem to translate Don's master spy story. The sentences
end by a French word in the original script (someone corrects me if
that's wrong). Changing them to american words and making an American
master spy would have been absurd, so Jean-Paul Jennequin, one of the
translators of LoS for Picsou choose to put words in old French instead.
I guess such change was necessary. If I had the original script (and I'd
love to have it) I would compare both texts, by curiosity (I suppose that
Egmont's reports do have the original script, or do they make changes?).
Francois
Today, a new issue of Picsou hits the stand. It's much bigger than before,
unfortunately with the same number of comics. It only contains Barks and
Branca stories and The French Master Spy by Don Rosa. It also has a new
illustration of Don, number 10 he did for Picsou (or 9, since I think one
of them was only a reprint of a Gladstone cover).
There are some new things however. First Picsou prints the full credits
of every story even Danish, like Zio Paperone. And there are some nice
Taliaferro strips at the end.
They had a big problem to translate Don's master spy story. The sentences
end by a French word in the original script (someone corrects me if
that's wrong). Changing them to american words and making an American
master spy would have been absurd, so Jean-Paul Jennequin, one of the
translators of LoS for Picsou choose to put words in old French instead.
I guess such change was necessary. If I had the original script (and I'd
love to have it) I would compare both texts, by curiosity (I suppose that
Egmont's reports do have the original script, or do they make changes?).
Francois
Schneiderath
Don Rosa´s "Cutty Sark" Story in German Micky Maus
Message 8 -
1999-02-03 at 11:55:48
For all our german readers:=20
The German version of Don Rosa=B4s=20
"Cowboy Captain of the Cutty Sark" will appear in german=20
Micky Maus weekly #8/99 on February 18th.=20
(probably as a two part version)
BYE!
Mike
---------------------
www.duckhunt.de
The German version of Don Rosa=B4s=20
"Cowboy Captain of the Cutty Sark" will appear in german=20
Micky Maus weekly #8/99 on February 18th.=20
(probably as a two part version)
BYE!
Mike
---------------------
www.duckhunt.de
Bhc
Disney comics Digest V99 #20
Message 9 -
1999-02-03 at 17:21:45
Re: Disney's claims to all rights in the Universe
The Universe is a conception which contains, but is in no way bounded by,
what is currently known and/or observed to exist. The Universe is, in fact,
unbounded, which puts it now and forever beyond the grasp, let along the
influence, of human law.
I've heard that US and international copyright agencies have recently
declared that claims to rights coverage throughout the Universe are not
"proper form". (A declaration of "universal rights" is not the same thing,
inasmuch as the adjective is derived from the concept of universe, not a
conception called the Universe.) If this is so, it only waves a timely
warning flag in the face of corporations that may not realize that legal
statements are no place for that kind of linguistic pomposity, and could
even be dangerous to their interests.
Nimrod shot an arrow at the voice of God, and mankind was dispersed.
Lawyers draft statements that seek to gird the Universe, and one has to
wonder how mankind may suffer for that. (Or am I being too pompous in turn?)
Gary
****************************
"Who Knows Whose Nose Sniffs the Rose I Chose" - old sourdough song title
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
The Universe is a conception which contains, but is in no way bounded by,
what is currently known and/or observed to exist. The Universe is, in fact,
unbounded, which puts it now and forever beyond the grasp, let along the
influence, of human law.
I've heard that US and international copyright agencies have recently
declared that claims to rights coverage throughout the Universe are not
"proper form". (A declaration of "universal rights" is not the same thing,
inasmuch as the adjective is derived from the concept of universe, not a
conception called the Universe.) If this is so, it only waves a timely
warning flag in the face of corporations that may not realize that legal
statements are no place for that kind of linguistic pomposity, and could
even be dangerous to their interests.
Nimrod shot an arrow at the voice of God, and mankind was dispersed.
Lawyers draft statements that seek to gird the Universe, and one has to
wonder how mankind may suffer for that. (Or am I being too pompous in turn?)
Gary
****************************
"Who Knows Whose Nose Sniffs the Rose I Chose" - old sourdough song title
----------------------------------------------------------------------
Gladstone on the Web: http://www.brucehamilton.com
@chilles
Future rosa editon in english (is easy to get)
Message 10 -
1999-02-03 at 19:55:12
Hi,
just talked to a guy in the comic store & he told me
the easy solution to our RON ROSA suply problems:
in I N D I A - no joke, thats the real !!!!
they print their WDC and Stories
in E N G L I S H ! ! ! ! ! ! ! ! ! ! !
that means fresh rosa's, but how to get?
Any ideas?
tom_a, from europe, berlin
--------------------------------
End of Disney comics Digest V99 Issue #21
*****************************************
just talked to a guy in the comic store & he told me
the easy solution to our RON ROSA suply problems:
in I N D I A - no joke, thats the real !!!!
they print their WDC and Stories
in E N G L I S H ! ! ! ! ! ! ! ! ! ! !
that means fresh rosa's, but how to get?
Any ideas?
tom_a, from europe, berlin
--------------------------------
End of Disney comics Digest V99 Issue #21
*****************************************
Marco Barlotti
A modest proposal
Message 11 -
1999-02-03 at 20:31:08
At 12:33:29 Tue, 2 Feb 1999 -0500 Don Rosa <(Email removed)> wrote:
>And *of course* anyone can write anything they wish into *private* e-mail...
>copyrighted scripts or whatever!
Then, at 10:22:47 Wed, 3 Feb 1999 +0100 (MET) Francois Willot
<(Email removed)> wrote:
>Today, a new issue of Picsou hits the stand. It's much bigger than before,
>unfortunately with the same number of comics. It only contains Barks and
>Branca stories and The French Master Spy by Don Rosa.
[...]
>If I had the original script (and I'd
>love to have it) I would compare both texts, by curiosity
So, Don: why don't you (privately) send the script to Francois? ;-)
Marco
http://marcobar.cce.unifi.it/Comics
>And *of course* anyone can write anything they wish into *private* e-mail...
>copyrighted scripts or whatever!
Then, at 10:22:47 Wed, 3 Feb 1999 +0100 (MET) Francois Willot
<(Email removed)> wrote:
>Today, a new issue of Picsou hits the stand. It's much bigger than before,
>unfortunately with the same number of comics. It only contains Barks and
>Branca stories and The French Master Spy by Don Rosa.
[...]
>If I had the original script (and I'd
>love to have it) I would compare both texts, by curiosity
So, Don: why don't you (privately) send the script to Francois? ;-)
Marco
http://marcobar.cce.unifi.it/Comics
Marco Barlotti
A modest proposal
Message 12 -
1999-02-03 at 20:31:08
At 12:33:29 Tue, 2 Feb 1999 -0500 Don Rosa <(Email removed)> wrote:
>And *of course* anyone can write anything they wish into *private* e-mail...
>copyrighted scripts or whatever!
Then, at 10:22:47 Wed, 3 Feb 1999 +0100 (MET) Francois Willot
<(Email removed)> wrote:
>Today, a new issue of Picsou hits the stand. It's much bigger than before,
>unfortunately with the same number of comics. It only contains Barks and
>Branca stories and The French Master Spy by Don Rosa.
[...]
>If I had the original script (and I'd
>love to have it) I would compare both texts, by curiosity
So, Don: why don't you (privately) send the script to Francois? ;-)
Marco
http://marcobar.cce.unifi.it/Comics
>And *of course* anyone can write anything they wish into *private* e-mail...
>copyrighted scripts or whatever!
Then, at 10:22:47 Wed, 3 Feb 1999 +0100 (MET) Francois Willot
<(Email removed)> wrote:
>Today, a new issue of Picsou hits the stand. It's much bigger than before,
>unfortunately with the same number of comics. It only contains Barks and
>Branca stories and The French Master Spy by Don Rosa.
[...]
>If I had the original script (and I'd
>love to have it) I would compare both texts, by curiosity
So, Don: why don't you (privately) send the script to Francois? ;-)
Marco
http://marcobar.cce.unifi.it/Comics
DeanMary
Disney comics in the US
Message 13 -
1999-02-03 at 23:46:43
Marquetta Pisarcik wrote:
> I am @$#% near fed up with the problems that surround Disney comics in
> America.
and:
> All I know is that I've lost a favorite past-time and can only
> hope that it return from the ashes someday.
Marquetta stated exactly how I feel but in a more succinct and to the
point way than I would have come up with! I can't express how upset I
am about the lack of new Disney comics presently!
One thing this has taught me though is a lesson in being grateful for
what you have got. Let me explain. A little over a year ago we heard
through the mailing list that Gladstone was cutting down production of
their comics line to only two comics a month. At the time I was very
distressed and depressed! One, I have always preferred "regular" comics
than the prestige-format kind. Two, now there were only two a month
instead of four.
Boy, what a difference a year makes though! Now I would give my right
arm just to have those 2 comics a month again. Heck I'd be happy if
there was even a quarterly publication that just published the newest
stories by Don Rosa and Willian Van Horn! So what I was depressed about
a year ago is what today I would do anything to have. I guess it was a
good lesson to learn but at too high a cost!
So now one of the big points of every day is getting the lastest Disney
mailing list. In each one, one of three things can happen. One, Gary
can write that there will soon again be Disney comics in the US. If I
hear this I think I will literally jump and holler all over my house!
Two, Gary can write that Disney comics in the US are now officially a
thing of the past. That to me would be like hearing a funeral dirge and
be more depressing to me than I can express. Or three, another day goes
by with no news one way or the other and I tell myself, "Well, maybe
tomorrow will be the day we find out." It is kind of sad that much of
my life has come down to this, but then again I do love and cherish
Disney comics SO much!!!
Sorry for being somewhat off-topic and rambling. I, like Marquetta,
just needed to vent some emotions. Are there other list members in the
US or Canada who are having similar emotions and feelings like I am?
Just curious. Perhaps there would be some consolation in hearing other
Disney comics fans feeling the same way.
Dean Rekich
> I am @$#% near fed up with the problems that surround Disney comics in
> America.
and:
> All I know is that I've lost a favorite past-time and can only
> hope that it return from the ashes someday.
Marquetta stated exactly how I feel but in a more succinct and to the
point way than I would have come up with! I can't express how upset I
am about the lack of new Disney comics presently!
One thing this has taught me though is a lesson in being grateful for
what you have got. Let me explain. A little over a year ago we heard
through the mailing list that Gladstone was cutting down production of
their comics line to only two comics a month. At the time I was very
distressed and depressed! One, I have always preferred "regular" comics
than the prestige-format kind. Two, now there were only two a month
instead of four.
Boy, what a difference a year makes though! Now I would give my right
arm just to have those 2 comics a month again. Heck I'd be happy if
there was even a quarterly publication that just published the newest
stories by Don Rosa and Willian Van Horn! So what I was depressed about
a year ago is what today I would do anything to have. I guess it was a
good lesson to learn but at too high a cost!
So now one of the big points of every day is getting the lastest Disney
mailing list. In each one, one of three things can happen. One, Gary
can write that there will soon again be Disney comics in the US. If I
hear this I think I will literally jump and holler all over my house!
Two, Gary can write that Disney comics in the US are now officially a
thing of the past. That to me would be like hearing a funeral dirge and
be more depressing to me than I can express. Or three, another day goes
by with no news one way or the other and I tell myself, "Well, maybe
tomorrow will be the day we find out." It is kind of sad that much of
my life has come down to this, but then again I do love and cherish
Disney comics SO much!!!
Sorry for being somewhat off-topic and rambling. I, like Marquetta,
just needed to vent some emotions. Are there other list members in the
US or Canada who are having similar emotions and feelings like I am?
Just curious. Perhaps there would be some consolation in hearing other
Disney comics fans feeling the same way.
Dean Rekich
DeanMary
Disney comics in the US
Message 14 -
1999-02-03 at 23:46:43
Marquetta Pisarcik wrote:
> I am @$#% near fed up with the problems that surround Disney comics in
> America.
and:
> All I know is that I've lost a favorite past-time and can only
> hope that it return from the ashes someday.
Marquetta stated exactly how I feel but in a more succinct and to the
point way than I would have come up with! I can't express how upset I
am about the lack of new Disney comics presently!
One thing this has taught me though is a lesson in being grateful for
what you have got. Let me explain. A little over a year ago we heard
through the mailing list that Gladstone was cutting down production of
their comics line to only two comics a month. At the time I was very
distressed and depressed! One, I have always preferred "regular" comics
than the prestige-format kind. Two, now there were only two a month
instead of four.
Boy, what a difference a year makes though! Now I would give my right
arm just to have those 2 comics a month again. Heck I'd be happy if
there was even a quarterly publication that just published the newest
stories by Don Rosa and Willian Van Horn! So what I was depressed about
a year ago is what today I would do anything to have. I guess it was a
good lesson to learn but at too high a cost!
So now one of the big points of every day is getting the lastest Disney
mailing list. In each one, one of three things can happen. One, Gary
can write that there will soon again be Disney comics in the US. If I
hear this I think I will literally jump and holler all over my house!
Two, Gary can write that Disney comics in the US are now officially a
thing of the past. That to me would be like hearing a funeral dirge and
be more depressing to me than I can express. Or three, another day goes
by with no news one way or the other and I tell myself, "Well, maybe
tomorrow will be the day we find out." It is kind of sad that much of
my life has come down to this, but then again I do love and cherish
Disney comics SO much!!!
Sorry for being somewhat off-topic and rambling. I, like Marquetta,
just needed to vent some emotions. Are there other list members in the
US or Canada who are having similar emotions and feelings like I am?
Just curious. Perhaps there would be some consolation in hearing other
Disney comics fans feeling the same way.
Dean Rekich
> I am @$#% near fed up with the problems that surround Disney comics in
> America.
and:
> All I know is that I've lost a favorite past-time and can only
> hope that it return from the ashes someday.
Marquetta stated exactly how I feel but in a more succinct and to the
point way than I would have come up with! I can't express how upset I
am about the lack of new Disney comics presently!
One thing this has taught me though is a lesson in being grateful for
what you have got. Let me explain. A little over a year ago we heard
through the mailing list that Gladstone was cutting down production of
their comics line to only two comics a month. At the time I was very
distressed and depressed! One, I have always preferred "regular" comics
than the prestige-format kind. Two, now there were only two a month
instead of four.
Boy, what a difference a year makes though! Now I would give my right
arm just to have those 2 comics a month again. Heck I'd be happy if
there was even a quarterly publication that just published the newest
stories by Don Rosa and Willian Van Horn! So what I was depressed about
a year ago is what today I would do anything to have. I guess it was a
good lesson to learn but at too high a cost!
So now one of the big points of every day is getting the lastest Disney
mailing list. In each one, one of three things can happen. One, Gary
can write that there will soon again be Disney comics in the US. If I
hear this I think I will literally jump and holler all over my house!
Two, Gary can write that Disney comics in the US are now officially a
thing of the past. That to me would be like hearing a funeral dirge and
be more depressing to me than I can express. Or three, another day goes
by with no news one way or the other and I tell myself, "Well, maybe
tomorrow will be the day we find out." It is kind of sad that much of
my life has come down to this, but then again I do love and cherish
Disney comics SO much!!!
Sorry for being somewhat off-topic and rambling. I, like Marquetta,
just needed to vent some emotions. Are there other list members in the
US or Canada who are having similar emotions and feelings like I am?
Just curious. Perhaps there would be some consolation in hearing other
Disney comics fans feeling the same way.
Dean Rekich
John Garvin
Comics in America are dead
Message 15 -
1999-02-04 at 02:08:18
Comics in America are dead.
Well, ok, not dead, but certainly dying.
It's only a matter of time, you know. Comics as a method of mass entertainment started dying out in the
fifties. Not because of the comics code, but because of television. Throughout the sixties, to survive,
comics had to start appealing to narrower and narrower niches, namely, teenage boys who worshipped
superheros. The days when a "Comics and Stories" could ship 3 million copies in a single month were over
when 2.5 million little kids decided they would rather watch afternoon cartoons and Howdy Doody than read
comic books.
And this is not a tragedy. "Moving Pictures" supplanted vaudville in much the same way. "Talkies" killed
the silent film era. The video game industry (which I've worked in for the past ten years) made more
money last year than all of Hollywood's output combined (by billions of dollars). The internet is going
to make, I predict, similarly vast changes to the publishing, music, and entertainment industries. Your
kids will look at your stacks of comics in the same way I looked at my dad's stacks of pulps: it was a
quaint idea that had it's heyday, and passed.
Comics will survive, but only as a labor of love for those who create them and publish them. No one is
going to make the kinds of profits that drive corporate strategies, publishing comic books. This is bad
for fans of Disney comics because Disney is a huge corporation that is profit driven, not "love of the
artform" driven.
This is the central problem to publishing Disney comics in America. If you want to see Disney comics
published here, you have to find someone who is willing to almost work for free doing very small
print-runs to a fan base that is very small. This is a hard reality. Any talk of expanding the reader
base is doomed to failure because the masses have moved beyond comics as a means of entertainment.
Well, ok, not dead, but certainly dying.
It's only a matter of time, you know. Comics as a method of mass entertainment started dying out in the
fifties. Not because of the comics code, but because of television. Throughout the sixties, to survive,
comics had to start appealing to narrower and narrower niches, namely, teenage boys who worshipped
superheros. The days when a "Comics and Stories" could ship 3 million copies in a single month were over
when 2.5 million little kids decided they would rather watch afternoon cartoons and Howdy Doody than read
comic books.
And this is not a tragedy. "Moving Pictures" supplanted vaudville in much the same way. "Talkies" killed
the silent film era. The video game industry (which I've worked in for the past ten years) made more
money last year than all of Hollywood's output combined (by billions of dollars). The internet is going
to make, I predict, similarly vast changes to the publishing, music, and entertainment industries. Your
kids will look at your stacks of comics in the same way I looked at my dad's stacks of pulps: it was a
quaint idea that had it's heyday, and passed.
Comics will survive, but only as a labor of love for those who create them and publish them. No one is
going to make the kinds of profits that drive corporate strategies, publishing comic books. This is bad
for fans of Disney comics because Disney is a huge corporation that is profit driven, not "love of the
artform" driven.
This is the central problem to publishing Disney comics in America. If you want to see Disney comics
published here, you have to find someone who is willing to almost work for free doing very small
print-runs to a fan base that is very small. This is a hard reality. Any talk of expanding the reader
base is doomed to failure because the masses have moved beyond comics as a means of entertainment.