HARRY FLUKS to DAN ROSENBERG, 20-06-2003:
> Geoffrey Blum is currently writing stories based on ideas by Barks
> (for Egmont in Denmark). The ideas range from very rough ideas to
> complete story outlines, that Barks wrote in letters to various
> people.
> I think "From Dime to Dime" is one of these stories.
This story inspired by Carl Barks (D/D 2001-004) has recently been
published in Europe. In The Netherlands, for example.
Geoffrey Blum based the story on an idea taken from an April 1991 letter
from Carl Barks to Don Rosa.
A transcription of this letter has been published in Geoffrey Blum's
article "Raiders of the Lost Barks". (Gladstone album "Uncle $crooge
Adventures - Isle of Golden Geese" No. 42, 1998.)
Here's the part on which Blum based his story:
<SPOILER>
- - - - - - -
[...]
??I agree with you that the Number One Dime should not be treated as a
*good luck charm*. It contradicts the way Uncle Scrooge *really* made his
fortune, but woe is me! I blatantly violated that rule in at least one
story, U.S. #46, "Lost Beneath the Sea." I not only had Scrooge calling
the old dime a "boodle-bringer," I demonstrated such powers at points in
the story.
???It doesn't preclude your writing a story that debunks the luck charm
misconception. One way might be that the dime gets stolen by the Beagle
Boys, who figure that it is a good luck charm that will attract all sorts
of undeserved wealth to their wallets. Needless to say, no matter how well
they plan their bank heists, all the dime will attract is swarms of cops.
Meanwhile Uncle Scrooge is having a terrible time. His stack of money
shrinks a few inches every day. In desperation he even buys lottery tickets
that never seem to win. It looks very much as if the old dime was the gizmo
that made him the richest duck in the world. His luck is gone kaput.
???Then he changes suddenly. He says, "Luck! I didn't make my fortune by
being lucky. I made it in the old-fashioned way! By hard work." So he goes
back to the hills with a pick and shovel and lots of sweat on his brow and
before long he has a flock of new gold mines and oil wells and is richer
than ever.
???Walking along the street one day he is wondering how the Beagle Boys are
making out with his old dime. He soon learns. The B-Boys, passing in a
paddy wagon on the way to jail, bean him with the dime.
???Now Scrooge places the dime in the position it is fitted for?-- a
memento of the way he got his start. He relaxes in his money contented. His
overloaded money bin needs no more money. He personally needs no more
money. He has got it made.
???The doorbell rings. It is Don and the kids bringing news that one of the
ten-cent lottery tickets that Uncle Scrooge thought worthless months ago
has been declared a belated winner. Scrooge will have to make room for ten
million dollars?-- all in dimes.
???That sounds like one way of debunking the dime, but who knows whether
the story hasn't been used by some of the many duck writers in Italy,
Holland, or even the USA. Western Pub. put out a series [of] Beagle Boy
comics in the 60s. Anyway, if any of the situations look usable, you are
welcome to them. I'm only glad I no longer have to write stories.
So long.
Carl
- - - - - - -
</SPOILER>
--- Dani?l
Author
Topic: 200306
(426 messages)
Daniel Van Eijmeren
From Dime to Dime ("New" Barks story)
Message 271 -
2003-06-21 at 17:55:49
Daniel Van Eijmeren
On subscriptions
Message 272 -
2003-06-22 at 00:02:40
HARRY FLUKS to GARY LEACH, 19-05-2003:
> In Holland, and probably in other European countries, the subscription
> copies are not distributed by mail.
Really? Is that only recently then?
I remember that it is/was possible to get subscription copies by mail,
here in Holland.
> We have separate distribution channels, especially for weekly/monthly
> magazine subscriptions.
> The one that the Dutch Donald Duck is currently using is called Medianet.
And Media Expresse. (Or is that a subsidiary of Medianet?)
--- Dani?l
> In Holland, and probably in other European countries, the subscription
> copies are not distributed by mail.
Really? Is that only recently then?
I remember that it is/was possible to get subscription copies by mail,
here in Holland.
> We have separate distribution channels, especially for weekly/monthly
> magazine subscriptions.
> The one that the Dutch Donald Duck is currently using is called Medianet.
And Media Expresse. (Or is that a subsidiary of Medianet?)
--- Dani?l
Ole R Nielsen
Wahington Times article about WDC&S le-launch
Message 273 -
2003-06-22 at 02:42:03
Directly from the pages of washingtontimes.com:
http://www.washtimes.com/arts/20030614-120935-2989r.htm
Thanks to 'Cliff' for the URL.
-- Ole
Quote-->
Arts:
Uncle Scrooge, pals return as Disney classics are revived
Starting in 1939 and continuing more than half a century, the Disney
comic book became a staple in American popular culture.
Thanks to the efforts of Western Publishing under the imprints of Dell,
Gold Key and Whitman, and to Gladstone Publishing, along with famed creators
including Floyd Gottfredson, Don Rosa, Daan Jippes, William Van Horn, Noel
Van Horn, Patrick Block and the legendary Carl Barks, series such as Walt
Disney's Comics and Stories and Four Color introduced readers to Uncle
Scrooge McDuck, Gyro Gearloose and Li'l Bad Wolf.
The Disney sequential-art magic stopped in February of 1999 with the
closing of Gladstone, and it finally took the man with the coolest toys and
best comic-book collection to revive the legacy.
Steve Geppi, owner of Diamond Comic Distributors and president and chief
executive officer of Gemstone Publishing, officially brings the Disney gang
back to comic books beginning in two weeks with the release of Uncle Scrooge
No. 319, featuring Don Rosa's duck epic, "The Dutchman's Secret."
Mr. Geppi's admiration of the 'toons has been well-known for years in
industry circles, and his love of the medium has always been the battle cry
for taking over the production of Disney comics.
"I love [Disney Comics], and I am a die-hard Carl Barks fan, and I
consider it a great honor and privilege to follow the footsteps of previous
licensees," Mr. Geppi says from his Timonium, Md., office.
His carefully crafted strategy began this May with the release first of
a reprint of a very collectible 1947 shoe-store giveaway, the Boys and Girls
March of Comics No. 4, featuring Carl Barks' Maharaja Donald. (An original
version of the comic in mint condition can go for up to $7,000 today.) The
giveaway on Free Comic Book Day put an estimated 168,000 copies of the
reprint in children's hands.
Next, Mr. Geppi found a trio of key personnel from the defunct Gladstone
Publishing, Editor in Chief John Clark, Production Manager Susan
Daigle-Leach and Art Director Gary Leach, moved them to Maryland and armed
them with computers, brushes and a budget.
Their first goal was to concentrate on the repackaging of comics
material that already has been seen in Europe through Scandinavian publisher
Egmont Group.
This involves Mr. Leach scanning finished and line-art pages into the
computer and Miss Daigle-Leach taking on the demanding role of reference
colorist; she must carefully fill in the hues of each panel used to give the
printers and digital coloring experts a key to how the art should finally
look.
"We get the line art in from [the European publishers]. They do have
color available in their books, but it isn't really similar to what we do,"
she says. "They have different colors for characters and use a much more
limited palette."
Overall, the staff handles the digital coloring and separations of
mostly covers in-house while outsourcing the interior pages, thus the need
of sending along Miss Daigle-Leach's color guide.
After the backlog of stories from overseas, the staff also hopes to
start producing brand-new stories for American and worldwide audiences.
Expect books with new cover art from Don Rosa and William Van Horn,
available at $6.95 for 64 color pages, to continue hitting store shelves and
even school libraries in the near future.
The line will include classic series such as Uncle Scrooge Adventures,
Donald Duck Adventures and Walt Disney Comics and Stories. Gemstone
Publishing also will introduce two monthly comics starting in the summer and
add two more monthlies later in the year.
As to the eventual success of the line, Mr. Geppi can only comment on
the current climate of sequential art available in mass-market locations.
"Timing is everything, and with the advent of the bookstore market
embracing the graphic novel format, I think our timing is just perfect. I am
also hopeful to get the Disney comics into the school systems, as they are
universally embraced as wholesome and there should be no barriers in using
them in the educational side of literacy."
Zadzooks! wants to know you exist. Call 202/636-3016, fax 202/269-1853;
e-mail jszadkowski at washingtontimes.com or write to Joseph Szadkowski/The
Washington Times, 3600 New York Ave. NE, Washington D.C. 20002.
<--Quote
http://www.washtimes.com/arts/20030614-120935-2989r.htm
Thanks to 'Cliff' for the URL.
-- Ole
Quote-->
Arts:
Uncle Scrooge, pals return as Disney classics are revived
Starting in 1939 and continuing more than half a century, the Disney
comic book became a staple in American popular culture.
Thanks to the efforts of Western Publishing under the imprints of Dell,
Gold Key and Whitman, and to Gladstone Publishing, along with famed creators
including Floyd Gottfredson, Don Rosa, Daan Jippes, William Van Horn, Noel
Van Horn, Patrick Block and the legendary Carl Barks, series such as Walt
Disney's Comics and Stories and Four Color introduced readers to Uncle
Scrooge McDuck, Gyro Gearloose and Li'l Bad Wolf.
The Disney sequential-art magic stopped in February of 1999 with the
closing of Gladstone, and it finally took the man with the coolest toys and
best comic-book collection to revive the legacy.
Steve Geppi, owner of Diamond Comic Distributors and president and chief
executive officer of Gemstone Publishing, officially brings the Disney gang
back to comic books beginning in two weeks with the release of Uncle Scrooge
No. 319, featuring Don Rosa's duck epic, "The Dutchman's Secret."
Mr. Geppi's admiration of the 'toons has been well-known for years in
industry circles, and his love of the medium has always been the battle cry
for taking over the production of Disney comics.
"I love [Disney Comics], and I am a die-hard Carl Barks fan, and I
consider it a great honor and privilege to follow the footsteps of previous
licensees," Mr. Geppi says from his Timonium, Md., office.
His carefully crafted strategy began this May with the release first of
a reprint of a very collectible 1947 shoe-store giveaway, the Boys and Girls
March of Comics No. 4, featuring Carl Barks' Maharaja Donald. (An original
version of the comic in mint condition can go for up to $7,000 today.) The
giveaway on Free Comic Book Day put an estimated 168,000 copies of the
reprint in children's hands.
Next, Mr. Geppi found a trio of key personnel from the defunct Gladstone
Publishing, Editor in Chief John Clark, Production Manager Susan
Daigle-Leach and Art Director Gary Leach, moved them to Maryland and armed
them with computers, brushes and a budget.
Their first goal was to concentrate on the repackaging of comics
material that already has been seen in Europe through Scandinavian publisher
Egmont Group.
This involves Mr. Leach scanning finished and line-art pages into the
computer and Miss Daigle-Leach taking on the demanding role of reference
colorist; she must carefully fill in the hues of each panel used to give the
printers and digital coloring experts a key to how the art should finally
look.
"We get the line art in from [the European publishers]. They do have
color available in their books, but it isn't really similar to what we do,"
she says. "They have different colors for characters and use a much more
limited palette."
Overall, the staff handles the digital coloring and separations of
mostly covers in-house while outsourcing the interior pages, thus the need
of sending along Miss Daigle-Leach's color guide.
After the backlog of stories from overseas, the staff also hopes to
start producing brand-new stories for American and worldwide audiences.
Expect books with new cover art from Don Rosa and William Van Horn,
available at $6.95 for 64 color pages, to continue hitting store shelves and
even school libraries in the near future.
The line will include classic series such as Uncle Scrooge Adventures,
Donald Duck Adventures and Walt Disney Comics and Stories. Gemstone
Publishing also will introduce two monthly comics starting in the summer and
add two more monthlies later in the year.
As to the eventual success of the line, Mr. Geppi can only comment on
the current climate of sequential art available in mass-market locations.
"Timing is everything, and with the advent of the bookstore market
embracing the graphic novel format, I think our timing is just perfect. I am
also hopeful to get the Disney comics into the school systems, as they are
universally embraced as wholesome and there should be no barriers in using
them in the educational side of literacy."
Zadzooks! wants to know you exist. Call 202/636-3016, fax 202/269-1853;
e-mail jszadkowski at washingtontimes.com or write to Joseph Szadkowski/The
Washington Times, 3600 New York Ave. NE, Washington D.C. 20002.
<--Quote
Shad Z.
Disney Adventures Super Comics Special (Summer 2003)
Message 274 -
2003-06-22 at 09:57:22
Disney Adventures Super Comics Special (Summer 2003)
Continuing my listing of what's in the latest issue of the only current source for Disney comics in America -- Until Gemstone Comics start in 4 days!
NOTE: This is not a digest-sized magazine. It is a standard-sized magazine (approx. 8.5 x 11 inches)
1) "Create-A-Comic!", no story code, 4 pages.
Written by Michael Stewart. Art by Matt Feazell.
This is a non-fiction comic that shows kids how to make their own comic books.
2) Lilo & Stitch: "A Family Affair!", JZ735, 4 pages.
Story by Michael Stewart. Art by Giovanni Rigano.
Characters include Lilo, Stitch, Nani, David, Cobra, Jumba and Pleakly.
3) Finding Nemo: "The Secret of Skull Cove!", JZ736, 4 pages.
Story by Michael Stewart. Art by Fabricio Grellet and Magic Eye Studios.
Characters include Nemo, Tad, Sheldon, Pearl, Marlin, Pearl's father, Sheldon's father and Tad's father.
4) Kim Possible: "Un-Fairway!", JZ737, 4 pages.
Story by John Green. Pencils by Craig Rousseau. Inks by Jeff Albrecht.
Characters include Kim, Ron, Wade, Rufus and Duff Killigan.
5) Pirates of the Caribbean: The Curse of the Black Pearl: "The Accidental Pirate!", JZ738, 6 pages.
Story by Michael Stewart. Pencils by Stuart Immonen. Inks by Wade Von Grawbadger.
Characters include Will Turner, Captian Jack Sparrow, Cotton, Gibbs and Anamaria.
"Pirates of the Caribbean: The Curse of the Black Pearl" is an upcoming movie based on the "Pirates of the Caribbean" theme park ride.
6) The Proud Family: "The Proud Family Vacation!", JZ739, 4 pages.
Story by Kayte Kuch and Sheryl Scarborough. Art by Min S. Ku.
Characters include Penny, Dijonay, LaCienega, Zoey, Sticky, Trudy, Oscar, BeBe, CeCe and Shuga Mama.
7) Lizzie McGuire: "Lizzie's Test Mess!", JZ740, 4 pages.
Story by Wendy Wax. Art by Bill Alger.
Characters include Lizzie McGuire's cartoon alter-ego.
8) Brother Bear: "Go Fish!", JZ741, 5 pages.
Story by Michael Stewart. Pencils by Steven Butler. Inks by Jim Amash.
Characters include Kenai, Koda, Rutt and Tuke.
9) Jet Pack Pets: "Hare, There and Everywhere", JZ742, 4 pages.
Story by Michael Stewart. Art by Scott Koblish.
"Jet Pack Pets" is not a Disney property; it is copyright Michael Stewart & Garry Black.
10) The Hair Pair: "A Bit Grumpy!, JZ743, 1 page.
Story and Art by Charly La Greca.
"The Hair Pair" is not a Disney property; it is copyright Charly La Greca.
11) Disney?s Tall Tails, JZ745, 1 page.
Story and Art by Glenn McCoy.
Characters include Mickey Mouse and Goofy.
12) The Crybabies: "Superstar, Shmuperstar!", JZ746, 1 page.
Story and Art by james dean conklin.
"The Crybabies" is not a Disney property; it is copyright james dean conklin.
13) Society of Horrors: "The Low Moan", JZ747, 2 pages.
Story and art by Rick Geary.
"Society of Horrors" is not a Disney property; it is copyright Rick Geary.
14) The Last Laugh: "Superhero Comics You'll Never See!", JZ448, 1 page.
Written by John Green. Art by Brian Douglas Ahern.
15) "The Fabulous Fifty!", No story code, 8 pages.
No credits given.
This is actually a poster the size of four pages, printed on both sides. On the poster are 50 comic strips based on 50 different Disney animated movies. I'm not going to list the characters (because I don't know all their names), but the movies are:
Snow White and the Seven Dwarfs
Pinocchio
Fantasia
Dumbo
Bambi
Saludos Amigos
Make Mine Music
The Three Caballeros
Fun and Fancy Free
Melody Time
The Adventures of Ichabod and Mr. Toad
Alice in Wonderland
Cinderella
Peter Pan
Lady and the Tramp
Sleeping beauty
The Sword in the Stone
101 Dalmatians
The Jungle Book
The Aristocats
Robin Hood
The Many Adventures of Winnie the Pooh
The Rescuers
The Fox and the Hound
The Black cauldron
The Great Mouse Detective
Oliver & Company
The Little Mermaid
The Rescuers Down under
Beauty and the Beast
The Nightmare Before Christmas
Aladdin
Pocahontas
The Lion King
Toy Story
James and the Giant Peach
The Hunchback of Notre Dame
Hercules
Mulan
A Bug's Life
Tarzan
Toy Story 2
Fantasia 2000
Dinosaur
The Emperor's New Grove
Atlantis
Monsters, Inc.
Treasure Planet
Lilo & Stitch
Finding Nemo
Shad Z. ^Q^
(ShadZ at rocketmail.com,ShadZ at email.com,Jackalope7 at go.com)
http://shadz.homestead.com/files/
HONK TO SEE PUPPIES
Sign along US 287, Loveland CO
--
__________________________________________________________
Sign-up for your own FREE Personalized E-mail at Mail.com
http://www.mail.com/?sr=signup
CareerBuilder.com has over 400,000 jobs. Be smarter about your job search
http://corp.mail.com/careers
Continuing my listing of what's in the latest issue of the only current source for Disney comics in America -- Until Gemstone Comics start in 4 days!
NOTE: This is not a digest-sized magazine. It is a standard-sized magazine (approx. 8.5 x 11 inches)
1) "Create-A-Comic!", no story code, 4 pages.
Written by Michael Stewart. Art by Matt Feazell.
This is a non-fiction comic that shows kids how to make their own comic books.
2) Lilo & Stitch: "A Family Affair!", JZ735, 4 pages.
Story by Michael Stewart. Art by Giovanni Rigano.
Characters include Lilo, Stitch, Nani, David, Cobra, Jumba and Pleakly.
3) Finding Nemo: "The Secret of Skull Cove!", JZ736, 4 pages.
Story by Michael Stewart. Art by Fabricio Grellet and Magic Eye Studios.
Characters include Nemo, Tad, Sheldon, Pearl, Marlin, Pearl's father, Sheldon's father and Tad's father.
4) Kim Possible: "Un-Fairway!", JZ737, 4 pages.
Story by John Green. Pencils by Craig Rousseau. Inks by Jeff Albrecht.
Characters include Kim, Ron, Wade, Rufus and Duff Killigan.
5) Pirates of the Caribbean: The Curse of the Black Pearl: "The Accidental Pirate!", JZ738, 6 pages.
Story by Michael Stewart. Pencils by Stuart Immonen. Inks by Wade Von Grawbadger.
Characters include Will Turner, Captian Jack Sparrow, Cotton, Gibbs and Anamaria.
"Pirates of the Caribbean: The Curse of the Black Pearl" is an upcoming movie based on the "Pirates of the Caribbean" theme park ride.
6) The Proud Family: "The Proud Family Vacation!", JZ739, 4 pages.
Story by Kayte Kuch and Sheryl Scarborough. Art by Min S. Ku.
Characters include Penny, Dijonay, LaCienega, Zoey, Sticky, Trudy, Oscar, BeBe, CeCe and Shuga Mama.
7) Lizzie McGuire: "Lizzie's Test Mess!", JZ740, 4 pages.
Story by Wendy Wax. Art by Bill Alger.
Characters include Lizzie McGuire's cartoon alter-ego.
8) Brother Bear: "Go Fish!", JZ741, 5 pages.
Story by Michael Stewart. Pencils by Steven Butler. Inks by Jim Amash.
Characters include Kenai, Koda, Rutt and Tuke.
9) Jet Pack Pets: "Hare, There and Everywhere", JZ742, 4 pages.
Story by Michael Stewart. Art by Scott Koblish.
"Jet Pack Pets" is not a Disney property; it is copyright Michael Stewart & Garry Black.
10) The Hair Pair: "A Bit Grumpy!, JZ743, 1 page.
Story and Art by Charly La Greca.
"The Hair Pair" is not a Disney property; it is copyright Charly La Greca.
11) Disney?s Tall Tails, JZ745, 1 page.
Story and Art by Glenn McCoy.
Characters include Mickey Mouse and Goofy.
12) The Crybabies: "Superstar, Shmuperstar!", JZ746, 1 page.
Story and Art by james dean conklin.
"The Crybabies" is not a Disney property; it is copyright james dean conklin.
13) Society of Horrors: "The Low Moan", JZ747, 2 pages.
Story and art by Rick Geary.
"Society of Horrors" is not a Disney property; it is copyright Rick Geary.
14) The Last Laugh: "Superhero Comics You'll Never See!", JZ448, 1 page.
Written by John Green. Art by Brian Douglas Ahern.
15) "The Fabulous Fifty!", No story code, 8 pages.
No credits given.
This is actually a poster the size of four pages, printed on both sides. On the poster are 50 comic strips based on 50 different Disney animated movies. I'm not going to list the characters (because I don't know all their names), but the movies are:
Snow White and the Seven Dwarfs
Pinocchio
Fantasia
Dumbo
Bambi
Saludos Amigos
Make Mine Music
The Three Caballeros
Fun and Fancy Free
Melody Time
The Adventures of Ichabod and Mr. Toad
Alice in Wonderland
Cinderella
Peter Pan
Lady and the Tramp
Sleeping beauty
The Sword in the Stone
101 Dalmatians
The Jungle Book
The Aristocats
Robin Hood
The Many Adventures of Winnie the Pooh
The Rescuers
The Fox and the Hound
The Black cauldron
The Great Mouse Detective
Oliver & Company
The Little Mermaid
The Rescuers Down under
Beauty and the Beast
The Nightmare Before Christmas
Aladdin
Pocahontas
The Lion King
Toy Story
James and the Giant Peach
The Hunchback of Notre Dame
Hercules
Mulan
A Bug's Life
Tarzan
Toy Story 2
Fantasia 2000
Dinosaur
The Emperor's New Grove
Atlantis
Monsters, Inc.
Treasure Planet
Lilo & Stitch
Finding Nemo
Shad Z. ^Q^
(ShadZ at rocketmail.com,ShadZ at email.com,Jackalope7 at go.com)
http://shadz.homestead.com/files/
HONK TO SEE PUPPIES
Sign along US 287, Loveland CO
--
__________________________________________________________
Sign-up for your own FREE Personalized E-mail at Mail.com
http://www.mail.com/?sr=signup
CareerBuilder.com has over 400,000 jobs. Be smarter about your job search
http://corp.mail.com/careers
Lars Jensen
Non-Disney indexing
Message 275 -
2003-06-22 at 13:36:41
Harry wrote:
> I can say that the Barks non-Disney stories were include in Inducks
> "By Popular Demand".
> This means there are many Barks fans who prefer to have a complete
> Barks comic index.
>
> It's a bit tiresome to have to go to a different place to get
> information about Barks' few non-Disney stories.
>
> So I made the exception because:
> 1. Barks is THE most popular Disney comics creator;
> 2. The amount of included non-Disney comics is VERY small.
I could argue every single point in this, but since I neither own
INDUCKS nor am an induckser, there's no real point in doing that. Let's
just agree to disagree.
Lars
> I can say that the Barks non-Disney stories were include in Inducks
> "By Popular Demand".
> This means there are many Barks fans who prefer to have a complete
> Barks comic index.
>
> It's a bit tiresome to have to go to a different place to get
> information about Barks' few non-Disney stories.
>
> So I made the exception because:
> 1. Barks is THE most popular Disney comics creator;
> 2. The amount of included non-Disney comics is VERY small.
I could argue every single point in this, but since I neither own
INDUCKS nor am an induckser, there's no real point in doing that. Let's
just agree to disagree.
Lars
Fabio Blanco
Air Pirates Funnies
Message 276 -
2003-06-22 at 15:29:36
That's new from Fantagraphics
The Pirates And The Mouse
Disney's War Against the Underground
Bob Levin
During a time of unprecedented political, social, and cultural upheaval in U.S. history, one of the fiercest battles was ignited by a comic book.
In 1963, the San Francisco Chronicle made 21-year-old Dan O'Neill the youngest syndicated cartoonist in American newspaper history. As O'Neill delved deeper into the emerging counterculture, his strip, Odd Bodkins, became stranger and stranger and more and more provocative, until the papers in the syndicate dropped it and the Chronicle let him go. The lesson that O'Neill drew from this was that what America most needed was the destruction of Walt Disney.
O'Neill assembled a band of rogue cartoonists, called the Air Pirates after a group of villains who had bedeviled Mickey Mouse in comic books and cartoons. They lived communally in a San Francisco warehouse owned by Francis Ford Coppola and put out a comic book, Air Pirates Funnies, that featured Disney characters participating in very un-Disneylike behavior, provoking a mammoth lawsuit for copyright and trademark infringements and hundreds of thousands of dollars in damages. Disney was represented by one of San Francisco's top corporate law firms and the Pirates by the cream of the counterculture bar. The lawsuit raged for 10 years, from the trial court to the U.S. Supreme Court and back again.
Cloth, 270 pages
$24.00
The Pirates And The Mouse
Disney's War Against the Underground
Bob Levin
During a time of unprecedented political, social, and cultural upheaval in U.S. history, one of the fiercest battles was ignited by a comic book.
In 1963, the San Francisco Chronicle made 21-year-old Dan O'Neill the youngest syndicated cartoonist in American newspaper history. As O'Neill delved deeper into the emerging counterculture, his strip, Odd Bodkins, became stranger and stranger and more and more provocative, until the papers in the syndicate dropped it and the Chronicle let him go. The lesson that O'Neill drew from this was that what America most needed was the destruction of Walt Disney.
O'Neill assembled a band of rogue cartoonists, called the Air Pirates after a group of villains who had bedeviled Mickey Mouse in comic books and cartoons. They lived communally in a San Francisco warehouse owned by Francis Ford Coppola and put out a comic book, Air Pirates Funnies, that featured Disney characters participating in very un-Disneylike behavior, provoking a mammoth lawsuit for copyright and trademark infringements and hundreds of thousands of dollars in damages. Disney was represented by one of San Francisco's top corporate law firms and the Pirates by the cream of the counterculture bar. The lawsuit raged for 10 years, from the trial court to the U.S. Supreme Court and back again.
Cloth, 270 pages
$24.00
Stefan Persson
Disney
Message 277 -
2003-06-22 at 17:11:22
>From: "Chi-alpha-tau-zeta-eta-pi-alpha-sigma-chi-alpha-lambda-eta-sigma
>Pi-alpha-nu-tau-epsilon-lambda-eta-sigma" <hatzipa1 at hol.gr>
>To: <dcml at stp.ling.uu.se>
>Subject: disney
>Date: Sat, 21 Jun 2003 01:07:28 +0300
> HELLO.
> MY NAME IS PAUL AND I HAVE THE GREEK COMICS DEPARTMENT OF THE NEW GREEK
>MUSEUM WHICH WE ARE PREPARING FOR MANY MONTHS NOW. I AM MAKING AN ARCHIVE
>OF ALL THE GREEK COMICS AND I STARTED FROM THE DISNEY COMICS. I HAVE
>FINISHED THE BEST MAGAZINE WHICH IS 'KOMIX" AND I NEED SOME HELP ABOUT A
>STORY BECAUSE IT' S NOT IN YOUR INDEX. IT HAS CODE D2001-085 AND IT MIGHT
>BE A VICAR STORY. I AM SENDING YOU A PAGE ABOUT THIS STORY AND I JUST NEED
>THE USUAL DCML STORY PAGE.
> ALSO I WOULD LIKE TO INFORM YOU THAT I HAVE FOUND A FEW MISTAKES IN
>REGARDS TO THE GREEK INDEX. CAN I HAVE THE EMAIL OF THE ONE WHO MADE THE
>GREEK PAGES? I BELIEVE I CAN HELP HIM UPDATE THEM A LOT!
> THANK YOU
> PAUL HADJIPASCHALIS - PERSONAL EMAIL hatzipa1 at hol.gr
> COMICS DEPARTMENT - GREEK MUSEUM OF PRINTED MATERIAL
><< KO165c.doc >>
1.) PLEASE DON'T WRITE IN ALL CAPS!
2.) Please do not send attachments to the list---upload them somewhere on
the web instead.
3.) Please use some platform-independent format instead.
4.) Why is there a different name in the "From" field?
5.) If you are talking about I.N.D.U.C.K.S., the one you should contact is
Francesco Spreafico (frspreaf at tin.it).
Stefan
_________________________________________________________________
L?ttare att hitta dr?mresan med MSN Resor http://www.msn.se/resor/
>Pi-alpha-nu-tau-epsilon-lambda-eta-sigma" <hatzipa1 at hol.gr>
>To: <dcml at stp.ling.uu.se>
>Subject: disney
>Date: Sat, 21 Jun 2003 01:07:28 +0300
> HELLO.
> MY NAME IS PAUL AND I HAVE THE GREEK COMICS DEPARTMENT OF THE NEW GREEK
>MUSEUM WHICH WE ARE PREPARING FOR MANY MONTHS NOW. I AM MAKING AN ARCHIVE
>OF ALL THE GREEK COMICS AND I STARTED FROM THE DISNEY COMICS. I HAVE
>FINISHED THE BEST MAGAZINE WHICH IS 'KOMIX" AND I NEED SOME HELP ABOUT A
>STORY BECAUSE IT' S NOT IN YOUR INDEX. IT HAS CODE D2001-085 AND IT MIGHT
>BE A VICAR STORY. I AM SENDING YOU A PAGE ABOUT THIS STORY AND I JUST NEED
>THE USUAL DCML STORY PAGE.
> ALSO I WOULD LIKE TO INFORM YOU THAT I HAVE FOUND A FEW MISTAKES IN
>REGARDS TO THE GREEK INDEX. CAN I HAVE THE EMAIL OF THE ONE WHO MADE THE
>GREEK PAGES? I BELIEVE I CAN HELP HIM UPDATE THEM A LOT!
> THANK YOU
> PAUL HADJIPASCHALIS - PERSONAL EMAIL hatzipa1 at hol.gr
> COMICS DEPARTMENT - GREEK MUSEUM OF PRINTED MATERIAL
><< KO165c.doc >>
1.) PLEASE DON'T WRITE IN ALL CAPS!
2.) Please do not send attachments to the list---upload them somewhere on
the web instead.
3.) Please use some platform-independent format instead.
4.) Why is there a different name in the "From" field?
5.) If you are talking about I.N.D.U.C.K.S., the one you should contact is
Francesco Spreafico (frspreaf at tin.it).
Stefan
_________________________________________________________________
L?ttare att hitta dr?mresan med MSN Resor http://www.msn.se/resor/
Daniel Van Eijmeren
Cave of the Winds (Gladstone's luck)
Message 278 -
2003-06-22 at 18:09:57
KRISTIAN PEDERSEN to STEFAN DIOS and DONALD AULT, 02-06-2003:
> [...] a 10-page Barks story in which a question by Scrooge is answered
> using a contraption by Gyro: alphabet noodles boiled in a pot together
> with a dictionary. Afterwards, the noodles are poured onto Scrooge's
> desk and neatly spells out the solution to his problem. [...]
> Can somebody identify the story?
It's "Cave of the Winds" (OS 1095). On page 3, Gyro writes the problem
on a piece of paper and drops it in water in which he has boiled an
encyclopedia. After that, he pours in some alphabet soup mix. And -
presto! Out comes the answer onto a blotter.
An earlier (IMO better) scene with an automatic question answerer can be
found in Barks's unfinished Gyro-story "The Pied Piper of Duckburg", now
known as a story inked and finished by Don Rosa (H89174). The similarity
is mentioned in Geoffrey Blum article "Versions of a Pied Piper", Carl
Barks Library, page 6B-375.
--- Dani?l
> [...] a 10-page Barks story in which a question by Scrooge is answered
> using a contraption by Gyro: alphabet noodles boiled in a pot together
> with a dictionary. Afterwards, the noodles are poured onto Scrooge's
> desk and neatly spells out the solution to his problem. [...]
> Can somebody identify the story?
It's "Cave of the Winds" (OS 1095). On page 3, Gyro writes the problem
on a piece of paper and drops it in water in which he has boiled an
encyclopedia. After that, he pours in some alphabet soup mix. And -
presto! Out comes the answer onto a blotter.
An earlier (IMO better) scene with an automatic question answerer can be
found in Barks's unfinished Gyro-story "The Pied Piper of Duckburg", now
known as a story inked and finished by Don Rosa (H89174). The similarity
is mentioned in Geoffrey Blum article "Versions of a Pied Piper", Carl
Barks Library, page 6B-375.
--- Dani?l
Dennis Books
#1 dime...A GOOD LUCK CHARM ?
Message 279 -
2003-06-22 at 23:43:57
It may be of interest that on Christmas of 1995 i received a surprise in the mail from Grants Pass,Oregon. Enclosed was a dime dated 1875. The accompanying letter stated "This very special amulet will help ypu invest your retirement money. It came from an old gentleman living on a hill. He kept it on a string. Beware of a lady from Italy. She is a real pest".....An amulet is by definition is something worn around the neck to protect against evil.
Til later...Dennis
---------------------------------
Do you Yahoo!?
SBC Yahoo! DSL - Now only $29.95 per month!
Til later...Dennis
---------------------------------
Do you Yahoo!?
SBC Yahoo! DSL - Now only $29.95 per month!
Anthvvuono
To Don Rosa (again):
Message 280 -
2003-06-22 at 23:59:05
Dear Mr. Rosa:
What does Matilda McDuck look like in her old age? Similar to her
appearance at the end of LoS chapter 11B only with gray hair? I also wanted to
know what's your next big project after Letter from Home. I hope it's another LoS
chapter. You mentioned on this list some time ago you thought about doing an
8B with Goldie and Scrooge. Is that still your plan?
Anthony
What does Matilda McDuck look like in her old age? Similar to her
appearance at the end of LoS chapter 11B only with gray hair? I also wanted to
know what's your next big project after Letter from Home. I hope it's another LoS
chapter. You mentioned on this list some time ago you thought about doing an
8B with Goldie and Scrooge. Is that still your plan?
Anthony
Daniel Van Eijmeren
Quick changes in artwork and lettering (Barks' 40s Editor)
Message 281 -
2003-06-23 at 16:10:08
ROB KLEIN to TIMO RONKAINEN, 14-06-2003:
> Thanks Timo, for the name of Barks' early-to-mid 1940s editor. It was,
> indeed, eleanor Packer. You are probably correct, that they needed the
> story ending change quickly (otherwise they would have had the original
> story artist make the changes). That is probably also why they didn't
> worry about making the replacement lettering the same size and style as
> that of the original story. The new lettering was smaller, and more
> "squared". I assume that was the same situation with "The Ghost of the
> Grotto", "The Horseradish story", and several other situations in which
> the lettering is visibly different.
In which case would they *slowly* change the story, then? And why would
the editor go into great efforts to keep the lettering being done by Barks
himself, or by someone imitating Barks?
The dialogue changes in "The Ghost of the Grotto" (OS 159), "Adventure Down
Under" (OS 159), and "The Horseradish story" (OS 495), all belong to the
LEAST KNOWN CHANGES made in Barks' work. So far, I've only seen them being
reported here on DCML.
Why would the editor take time to imitate Barks's style, if it will take
DECADES before only the diehard fans will notice that a NON-Barkish change
might have been made? At that time there wasn't even a Barks culture. And
up to now, only a few DCML-people have reported seeing such non-Barkish
changes. They were all people with trained eyes, knowing where to look at.
In the case of "The Firebug", only two small panels were put into the
story.
(The pages counted a lot of these small panels at that time, because USA
comics became thinner during wartime.) Maybe the editor found it too much
effort to have the story's artwork send back and forth to Barks, only for
relatively small changes which most of the average readers won't notice.
In the case of the lettering, I think it would be too much effort to mark
all balloons that need to be changed (telling which change exactly has to
be made in every instance), to have the story's artwork send back and
forth to Barks, to check if every change has been made correctly, only for
smoothing over some changes that only a few future fans will discover.
I might be wrong, though. I'm curious for comments.
--- Dani?l
> Thanks Timo, for the name of Barks' early-to-mid 1940s editor. It was,
> indeed, eleanor Packer. You are probably correct, that they needed the
> story ending change quickly (otherwise they would have had the original
> story artist make the changes). That is probably also why they didn't
> worry about making the replacement lettering the same size and style as
> that of the original story. The new lettering was smaller, and more
> "squared". I assume that was the same situation with "The Ghost of the
> Grotto", "The Horseradish story", and several other situations in which
> the lettering is visibly different.
In which case would they *slowly* change the story, then? And why would
the editor go into great efforts to keep the lettering being done by Barks
himself, or by someone imitating Barks?
The dialogue changes in "The Ghost of the Grotto" (OS 159), "Adventure Down
Under" (OS 159), and "The Horseradish story" (OS 495), all belong to the
LEAST KNOWN CHANGES made in Barks' work. So far, I've only seen them being
reported here on DCML.
Why would the editor take time to imitate Barks's style, if it will take
DECADES before only the diehard fans will notice that a NON-Barkish change
might have been made? At that time there wasn't even a Barks culture. And
up to now, only a few DCML-people have reported seeing such non-Barkish
changes. They were all people with trained eyes, knowing where to look at.
In the case of "The Firebug", only two small panels were put into the
story.
(The pages counted a lot of these small panels at that time, because USA
comics became thinner during wartime.) Maybe the editor found it too much
effort to have the story's artwork send back and forth to Barks, only for
relatively small changes which most of the average readers won't notice.
In the case of the lettering, I think it would be too much effort to mark
all balloons that need to be changed (telling which change exactly has to
be made in every instance), to have the story's artwork send back and
forth to Barks, to check if every change has been made correctly, only for
smoothing over some changes that only a few future fans will discover.
I might be wrong, though. I'm curious for comments.
--- Dani?l
Olaf Solstrand
YAHOO!
Message 282 -
2003-06-23 at 16:23:15
OK, sorry. This is spam, spam, spam, spam, spam, spam, egg and spam, but...
WOPPEEE!!! I'm now officially a published Disney comics writer!
...and would terribly love your feedback on my first story (D/D 2001-013),
for those of you who's read it. Out in Scandinavia in the weeklies this week
(26) - out in Norway TODAY.
Newspapers and radio has been all over me in a week already - though, today
they've been REALLY pushy. Adresseavisen made a review of my story, btw -
and gave it tossup five. AMAZING!
Also, while I'm still writing: Best regards go to Stefan Di?s. I have read
this week's Kalle Anka & Co., and I'm amazed over how well translated it is.
Compared to the Norwegian version, which even managed to screw up the
ending. Hrmpfh! Well, time to get used to that, I guess.
Anyhow, short summary: My first story, first published today, I'm awfully
proud, I want feedback.
Olaf
WOPPEEE!!! I'm now officially a published Disney comics writer!
...and would terribly love your feedback on my first story (D/D 2001-013),
for those of you who's read it. Out in Scandinavia in the weeklies this week
(26) - out in Norway TODAY.
Newspapers and radio has been all over me in a week already - though, today
they've been REALLY pushy. Adresseavisen made a review of my story, btw -
and gave it tossup five. AMAZING!
Also, while I'm still writing: Best regards go to Stefan Di?s. I have read
this week's Kalle Anka & Co., and I'm amazed over how well translated it is.
Compared to the Norwegian version, which even managed to screw up the
ending. Hrmpfh! Well, time to get used to that, I guess.
Anyhow, short summary: My first story, first published today, I'm awfully
proud, I want feedback.
Olaf
H.W.Fluks
YAHOO!
Message 283 -
2003-06-23 at 17:46:44
Olaf:
> D/D 2001-013. Adresseavisen made a review of my
> story, btw - and gave it tossup five. AMAZING!
5 on a scale of 1 to 10? 8-)
No feedback from me, I'm afraid. We won't see this story in Holland within the next months. And after that: *maybe*, if the Dutch editors see the story and like it enough to order it...
--Harry.
> D/D 2001-013. Adresseavisen made a review of my
> story, btw - and gave it tossup five. AMAZING!
5 on a scale of 1 to 10? 8-)
No feedback from me, I'm afraid. We won't see this story in Holland within the next months. And after that: *maybe*, if the Dutch editors see the story and like it enough to order it...
--Harry.
Daniel Van Eijmeren
What about a reconstruction of The Firebug? (David, Rob, Luca
Message 284 -
2003-06-23 at 17:59:19
I wonder how many original panels were replaced in "The Firebug"
(OS 108). And how.
I also would like to know if there's a possibility to have the
original ending reconstructed, with art by Daan Jippes.
SOME NOTES AND OBSERVATIONS
The rhythm of the story's artwork, mostly is that each half page
contains two large panels and three small panels. Exceptions are the
top half of page 1 (which contains one large panel instead of two
large panels), and the bottom half of the last page (which contains
six small panels). As far as I've seen, there are no other exceptions.
I wonder if the bottom half of the last page (13B), originally could
have contained three small panels and two large panels, instead of a
total of six small panels. This could mean that the non-Barks panels
replaced only *one* Barks-panel of Donald being put in jail.
The reason is that, at least at this moment, I wonder why Barks would
have needed two small cramped panels to show Donald being bars. Well,
at least not on the *exact* location of the two replacement panels.
I myself find the "Hooray!"-balloon in panel 13.7 a bit strange, as if
it was added (or taken from elsewhere). Does it look like being done
by Barks? The audience (or is it the jury?) isn't really going wild in
that panel, so the "Hooray!" looks forced to me. Or maybe this panel
could originally have been wider, *showing* the "Hooray!"-shouting
person(s)?
If so, I guess a candidate could be the policeman, brother of firebug
"Benzine". I guess he would be happy to see his brother cured, so he
won't have to keep him locked up for years, again. (This background
information is taken from panel 12.8.)
BTW. The firebug's brother is last seen in panel 12.8, unless he's the
policeman in panel 13.6.
Something else I find strange is the combination of panels 13.7 and
13.8. In panel 13.7, Doctor Carver Beakoff offers to cure firebug
"Benzine". In panel 13.8, the judge doesn't give any comment on that.
Maybe the "Hooray!"-balloon should suggest that all is fine with him,
but it looks a bit forced to me. At least without showing the person(s)
who shouted it.
And, last but not least:
What I don't understand is why firebug Donald would get a different,
harder punishment than firebug Banzoony. Both were dropped on their
heads, as can be concluded from panel 1.5 and 13.6.
"Benzine" Banzoony gets an expensive cure for burning the town.
Donald gets a punishment for setting fire to the judge's wastebasket
and (according to Barks's memory) the courthouse.
So, burning the judge's wastebasket (and the courthouse) apparently has
more importance than burning an entire city. And/or maybe a firebug who
is brother of a policeman gets a different judgement than an average
firebug?
Maybe the story originally had an explanation for that?
BTW. I think the lost ending would at least have contained one or more
nephews. Otherwise they would suddenly disappear before the ending of
the story. (On page 13, they are only shown as silhouettes in panel 13.6.)
--- Dani?l
(OS 108). And how.
I also would like to know if there's a possibility to have the
original ending reconstructed, with art by Daan Jippes.
SOME NOTES AND OBSERVATIONS
The rhythm of the story's artwork, mostly is that each half page
contains two large panels and three small panels. Exceptions are the
top half of page 1 (which contains one large panel instead of two
large panels), and the bottom half of the last page (which contains
six small panels). As far as I've seen, there are no other exceptions.
I wonder if the bottom half of the last page (13B), originally could
have contained three small panels and two large panels, instead of a
total of six small panels. This could mean that the non-Barks panels
replaced only *one* Barks-panel of Donald being put in jail.
The reason is that, at least at this moment, I wonder why Barks would
have needed two small cramped panels to show Donald being bars. Well,
at least not on the *exact* location of the two replacement panels.
I myself find the "Hooray!"-balloon in panel 13.7 a bit strange, as if
it was added (or taken from elsewhere). Does it look like being done
by Barks? The audience (or is it the jury?) isn't really going wild in
that panel, so the "Hooray!" looks forced to me. Or maybe this panel
could originally have been wider, *showing* the "Hooray!"-shouting
person(s)?
If so, I guess a candidate could be the policeman, brother of firebug
"Benzine". I guess he would be happy to see his brother cured, so he
won't have to keep him locked up for years, again. (This background
information is taken from panel 12.8.)
BTW. The firebug's brother is last seen in panel 12.8, unless he's the
policeman in panel 13.6.
Something else I find strange is the combination of panels 13.7 and
13.8. In panel 13.7, Doctor Carver Beakoff offers to cure firebug
"Benzine". In panel 13.8, the judge doesn't give any comment on that.
Maybe the "Hooray!"-balloon should suggest that all is fine with him,
but it looks a bit forced to me. At least without showing the person(s)
who shouted it.
And, last but not least:
What I don't understand is why firebug Donald would get a different,
harder punishment than firebug Banzoony. Both were dropped on their
heads, as can be concluded from panel 1.5 and 13.6.
"Benzine" Banzoony gets an expensive cure for burning the town.
Donald gets a punishment for setting fire to the judge's wastebasket
and (according to Barks's memory) the courthouse.
So, burning the judge's wastebasket (and the courthouse) apparently has
more importance than burning an entire city. And/or maybe a firebug who
is brother of a policeman gets a different judgement than an average
firebug?
Maybe the story originally had an explanation for that?
BTW. I think the lost ending would at least have contained one or more
nephews. Otherwise they would suddenly disappear before the ending of
the story. (On page 13, they are only shown as silhouettes in panel 13.6.)
--- Dani?l
H.W.Fluks
On subscriptions
Message 285 -
2003-06-23 at 18:08:01
Dani?l:
> > In Holland, and probably in other European countries, the
> > subscription copies are not distributed by mail.
>
> Really?
Ancient days:
The *normal* distribution was by door-to-door salesman ("wederverkoper").
In some areas where the subscribers were few and far between, the subscriptions came by mail.
Modern times:
Distribution is done by Medianet (or Media Expresse, whatever). This is not the regular Dutch mail company.
Maybe on some places they *do* use regular mail (TPG Post), I don't know.
--Harry.
> > In Holland, and probably in other European countries, the
> > subscription copies are not distributed by mail.
>
> Really?
Ancient days:
The *normal* distribution was by door-to-door salesman ("wederverkoper").
In some areas where the subscribers were few and far between, the subscriptions came by mail.
Modern times:
Distribution is done by Medianet (or Media Expresse, whatever). This is not the regular Dutch mail company.
Maybe on some places they *do* use regular mail (TPG Post), I don't know.
--Harry.