I haven't recieved an issue of the DCML in several, several days. Now, after looking at the list of subscribers, I see that my address is no longer listed. Have I been removed? Can somebody give me some info about what's going on?
rodney.
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Topic: 200307
(351 messages)
Rodney-selfhelpbikeco
What's going on?
Message 331 -
2003-07-28 at 18:32:55
Olaf Solstrand
Gemstone's mix (practically off-topic: An apology)
Message 332 -
2003-07-28 at 19:32:53
Rumour says that in my last mail I didn't make it clear enough that I was
being ironic. Well, I was. I didn't mean a word of what I said.
I apologize for not making that obvious enough.
I assumed my letter was so STUPID that everybody could see nobody could mean
this seriously...
-- I said that ALL Disney comics FOREVER should contain ONLY Rosa/Barks.
-- I "assumed" that practically everybody else ment the same as "I" did.
-- I placed our everyday Mickey Mouse comics in the same booth as Disney
Babies.
-- I made up a probably non-existing majority.
-- I claimed that Don Rosa is a god amongst comics creators (even ALL comics
creators, not even Disney only).
-- The ONLY reason I said Barks was good, was that Don Rosa based all his
stuff on him, so he couldn't be THAT bad.
-- As an example that one should always listen to the majority, I linked to
an article stating the exact opposite.
-- I was 100% sure there was market for an own wolf magazine in the USA.
-- I said that EVERYTHING not written by Barks or Rosa is boring and not
worth reading.
-- I called Carl Barks "that guy Barks".
-- I mentioned Van Horn and several others as "unknown amateurs".
-- I put an equal sign between Gemstone and Disney and suggested that
Gemstone should fire Egmont and Mandadori artists.
-- I said that nobody should ever be given a chance in making new Disney
comics because they couldn't be as good as Rosa anyway - but in the same
sentence I was saying that Don Rosa should not have gotten a chance sixteen
years ago. I thought I was obvious about that when saying "some engineer
from Kentucky or something".
-- I used myself and Fabio Blanco as examples of Gemstone's target group.
Neither of us are unitedstatesians.
-- Did anyone recognize the verse from my signature? It was the chorus from
Alanis Morrisette's "Ironic".
Sorry for confusing.
Olaf the Black
being ironic. Well, I was. I didn't mean a word of what I said.
I apologize for not making that obvious enough.
I assumed my letter was so STUPID that everybody could see nobody could mean
this seriously...
-- I said that ALL Disney comics FOREVER should contain ONLY Rosa/Barks.
-- I "assumed" that practically everybody else ment the same as "I" did.
-- I placed our everyday Mickey Mouse comics in the same booth as Disney
Babies.
-- I made up a probably non-existing majority.
-- I claimed that Don Rosa is a god amongst comics creators (even ALL comics
creators, not even Disney only).
-- The ONLY reason I said Barks was good, was that Don Rosa based all his
stuff on him, so he couldn't be THAT bad.
-- As an example that one should always listen to the majority, I linked to
an article stating the exact opposite.
-- I was 100% sure there was market for an own wolf magazine in the USA.
-- I said that EVERYTHING not written by Barks or Rosa is boring and not
worth reading.
-- I called Carl Barks "that guy Barks".
-- I mentioned Van Horn and several others as "unknown amateurs".
-- I put an equal sign between Gemstone and Disney and suggested that
Gemstone should fire Egmont and Mandadori artists.
-- I said that nobody should ever be given a chance in making new Disney
comics because they couldn't be as good as Rosa anyway - but in the same
sentence I was saying that Don Rosa should not have gotten a chance sixteen
years ago. I thought I was obvious about that when saying "some engineer
from Kentucky or something".
-- I used myself and Fabio Blanco as examples of Gemstone's target group.
Neither of us are unitedstatesians.
-- Did anyone recognize the verse from my signature? It was the chorus from
Alanis Morrisette's "Ironic".
Sorry for confusing.
Olaf the Black
Rob Klein
BarksTV
Message 333 -
2003-07-28 at 20:53:09
I visited Carl Barks in the late 1960s and the very early 1970s. I don't
remember seeing any television. I also remember him saying that it could be a
dangerous thing and he wanted to avoid things like that. But, I don't remember
if he said that to me, or that was a paraphrasing of what somebody, who knew
him better,told me. (Malcom Willits, his partner (first name) Brown, or friend
Jim Edmond? Forgive me. My old memory has been going downhill for the past 5-
10 years, and is getting worse every day. But it rings a bell, that he didn't
have a television, and he thought "them new-fangled inventions" might lead a
person into trouble! Despite Sigvald's logic, I'd say that rumour might have a
basis in fact. There are a few others on this list who visited him in the early
1970s or before. Perhaps they can enlighten us as to their memories, and/or
knowledge of that subject.
Rob
Klein
---------------------------------------------
This message was sent using the LA Free-Net - LA's best kept secret.
http://www.lafn.org/
remember seeing any television. I also remember him saying that it could be a
dangerous thing and he wanted to avoid things like that. But, I don't remember
if he said that to me, or that was a paraphrasing of what somebody, who knew
him better,told me. (Malcom Willits, his partner (first name) Brown, or friend
Jim Edmond? Forgive me. My old memory has been going downhill for the past 5-
10 years, and is getting worse every day. But it rings a bell, that he didn't
have a television, and he thought "them new-fangled inventions" might lead a
person into trouble! Despite Sigvald's logic, I'd say that rumour might have a
basis in fact. There are a few others on this list who visited him in the early
1970s or before. Perhaps they can enlighten us as to their memories, and/or
knowledge of that subject.
Rob
Klein
---------------------------------------------
This message was sent using the LA Free-Net - LA's best kept secret.
http://www.lafn.org/
Rich Bellacera
Something wrong with the DCML server again?
Message 334 -
2003-07-28 at 22:19:12
It's been several days since I've seen anything post to the Archives or received
anything in my inbox. I know there should have been at least one message from
Lars, but it hasn't appeared. Nothing has appeared since July 25th.
Thanks, and sorry for wasting the bandwidth, but I'm curious.
-Rich Bellacera
(Email removed)
---- Msg sent via CWNet - http://cwnet.com/
anything in my inbox. I know there should have been at least one message from
Lars, but it hasn't appeared. Nothing has appeared since July 25th.
Thanks, and sorry for wasting the bandwidth, but I'm curious.
-Rich Bellacera
(Email removed)
---- Msg sent via CWNet - http://cwnet.com/
Thorsten Bremer
Calendar for 2004 from german donaldists
Message 335 -
2003-07-29 at 01:28:24
(This advertisement-posting is approved by Per Starback.)
Hi!
This might be of some interest for some of you:
There are no reasonable Donald Duck-calendars available in Germany.
Therefore German donaldists publish their own "Duck Art calendar 2004".
12 German comic-artists present their interpretations about money in the
world of Duckburg.
The calendar will be released in October 2003. Orders are welcome.
Special conditions for traders and centralized buying are available,
please ask me directly via email (gdd at donald.org).
For more information visit our website at:
English: http://www.donald.org/en/DD/DDSH/ddsh47-ankuendigung.html
German: http://www.donald.org/de/DD/DDSH/ddsh47-ankuendigung.html
Greetings,
Thoddi
Hi!
This might be of some interest for some of you:
There are no reasonable Donald Duck-calendars available in Germany.
Therefore German donaldists publish their own "Duck Art calendar 2004".
12 German comic-artists present their interpretations about money in the
world of Duckburg.
The calendar will be released in October 2003. Orders are welcome.
Special conditions for traders and centralized buying are available,
please ask me directly via email (gdd at donald.org).
For more information visit our website at:
English: http://www.donald.org/en/DD/DDSH/ddsh47-ankuendigung.html
German: http://www.donald.org/de/DD/DDSH/ddsh47-ankuendigung.html
Greetings,
Thoddi
Vic Pratt
L'l Bad Wolf: a goody goody creep
Message 336 -
2003-07-29 at 12:41:49
Greetings, fellow enthusiasts.
Variety, so it is said, is the spice of life. And I
enjoy variety in the Disney titles as much as the next
crank. I want the mouse. Italian stuff. Gottfredson.
Wright. And that weird Eega Beeva creature. Sadly, the
Murry stuff leaves me cold, it seems to me to be a
pale imitation of Gottfredson.
I like quality stuff. Not dodgy page fillers. Keep
those chipmunks away, they're rubbish. And the L'il
Bad Wolf. What a little goody goody creep he is. No
wonder his Pa is ashamed of him, especially when you
see those sanctimonious smug pigs. They deserve to be
eaten.
The new issue of Uncle Scrooge is very good indeed by
the way. I could detect no filler! Keep up the good
work.
Cheerio
Vic
=====
A FINE ELECTRONIC PORTMANTEAU OF COMICS AND CURIOSITIES AT:
http://come.to/thefleacircus
________________________________________________________________________
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Messenger http://uk.messenger.yahoo.com/
Variety, so it is said, is the spice of life. And I
enjoy variety in the Disney titles as much as the next
crank. I want the mouse. Italian stuff. Gottfredson.
Wright. And that weird Eega Beeva creature. Sadly, the
Murry stuff leaves me cold, it seems to me to be a
pale imitation of Gottfredson.
I like quality stuff. Not dodgy page fillers. Keep
those chipmunks away, they're rubbish. And the L'il
Bad Wolf. What a little goody goody creep he is. No
wonder his Pa is ashamed of him, especially when you
see those sanctimonious smug pigs. They deserve to be
eaten.
The new issue of Uncle Scrooge is very good indeed by
the way. I could detect no filler! Keep up the good
work.
Cheerio
Vic
=====
A FINE ELECTRONIC PORTMANTEAU OF COMICS AND CURIOSITIES AT:
http://come.to/thefleacircus
________________________________________________________________________
Want to chat instantly with your online friends? Get the FREE Yahoo!
Messenger http://uk.messenger.yahoo.com/
Mike Rhode
Disney Mickey Mouse comic strip returns to America
Message 337 -
2003-07-29 at 15:42:13
Disney Presents Mickey Mouse, Again
Media Giant Pushes to Make Cartoon Rodent Hip
By Frank Ahrens
Washington Post Staff Writer
Saturday, July 26, 2003; Page E01
GLENDALE, Calif. -- If you thought Mickey Mouse was
already ubiquitous, you ain't seen nothing yet.
The sainted and globally famous four-fingered
trademark of the Walt Disney Co. is about to become
the centerpiece of a movie, retail, publishing, video
and television campaign aimed at amplifying its
marketplace presence.
This year is Mickey's 75th birthday, and the Disney
brass is determined not to let the cheerful geriatric
rodent fade from public consciousness, the victim of
company marketers too afraid to exercise the mouse's
branding power for fear of cheapening Walt Disney's
most important creation.
On Wednesday at a theater in this Los Angles suburb,
Disney Chairman Michael D. Eisner led a parade of
company executives in a rally of hundreds of employees
to reinforce that message.
Mickey "is from and of every country around the
world," said Deborah Dugan, president of Disney
publishing. "Bugs Bunny wishes he could say that," she
added, referring to the Warner Bros. character.
Beginning this fall, Gemstone Publishing will
reintroduce Disney comic books featuring Mickey and
his pals, hoping to tap into the robust comic-book
sector, which spawned and capitalized on the movie
success of "Batman," "Spider-Man" and "The Incredible
Hulk." Disney has also launched a retro-Mickey retail
blitz by selling the famous Mickey T-shirts, which
have in the past two years become hip, worn by such
celebrities as rocker Lenny Kravitz and style-maker
Sarah Jessica Parker in the HBO comedy, "Sex in the
City."
Roger Wyett, executive vice president of Disney's
global apparel, noted that Parker wore a Mickey
T-shirt on a recent episode of "Sex in the City" and
by the following Tuesday, the ultra-chic Fred Segal
Hollywood clothing boutique had already sold 60 of the
T-shirts -- at $43 each.
"We timed it -- [Parker] was onscreen with the T-shirt
for four minutes," Wyett said. In other words, it was
dream marketing for Mickey.
Wyett noted that when Kravitz appeared in a magazine
photograph two years ago wearing a vintage Mickey
T-shirt, "it hit us like a two-by-four over the head."
Trips to vintage-clothing stores -- where used Mickey
T-shirts were selling for $100 to $300 -- confirmed
that Mickey T's were a growing cultural phenomenon and
Disney needed to monetize the trend.
Disney's consumer-products division has been flagging
since the decline of the character apparel trend in
the mid-'90s (Warner Bros. has felt the same pinch on
its character wear). Disney hopes that a Mickey
full-frontal assault can help the division, though
there is no guarantee that consumers have more of an
appetite for the mighty Mouse, as evidenced by the
division's poor results.
In the second quarter this year, revenue for the
consumer-products division was $500 million, down 14
percent from the second quarter of 2002. Much of the
drag comes from soft sales at North America's 387
Disney stores, down from 522. Disney sold its stores
in Japan last year and said in May that it would also
sell its North American and European stores to a
retailer practiced in running stores.
At the same time, Disney has turned to alternative
ways of marketing its products.
Nina Jacobson, president of Disney's Buena Vista
Motion Pictures Group, was asked to hand out Mickey
T-shirts to movie stars who visited her office with
the hope that they would wear them and be
photographed. She gave them to Sharon Stone, Jodie
Foster and Freddie Prinze Jr., among others.
Disney is engaging in guerrilla marketing elsewhere in
its home city. Disney enlisted a graffiti artist to
render classic black-and-white Mickey comic strips on
the sides of buildings on chic Sunset Boulevard and
Melrose Avenue -- with permission, of course.
Mickey's muscling-up is largely the work of Andrew
Mooney, head of Disney consumer products. When he
arrived four years ago, he found Mickey bound by
ancient and Byzantine strictures determining how he
could appear and in what form. Mickey was something of
a sacred figure, and many in the company feared
blaspheming him by putting him on too many products.
Mooney, an early employee of Nike, realized that
Mickey was Disney's "swoosh' -- the equivalent of the
logo on Nike shoes. At the same time, Mooney sought to
preserve the aging mouse's dignity, employing him
judiciously.
For example, in November, dozens of Mickey statues,
painted in various motifs, similar to the "Party
Animal" donkeys and elephants around Washington D.C.,
will debut in Disney World. They will later tour the
country.
More Mickey-intensive efforts will roll out over the
next three years, including "The Three Musketeers," a
straight-to-video movie scheduled to be released in
August 2004. In fall of next year, Disney comic strips
featuring Mickey will appear in newspapers.
But it's likely that nothing will spread Mickey's
mouse-face as widely as a three-year U.S. Postal
Service commemorative stamp program that is to begin
next year. The stamp designs will debut at Walt Disney
World in October.
Vivendi Universal's Grinch character from Dr. Seuss
books has appeared on a stamp, as well as other
trademarked images owned by large corporations.
If the Mickey campaign goes well, Wyett suggested
other projects for Disney.
"What's next?" he asked the group of employees.
"Donald Duck? Tinkerbell?"
__________________________________
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Yahoo! SiteBuilder - Free, easy-to-use web site design software
http://sitebuilder.yahoo.com
Media Giant Pushes to Make Cartoon Rodent Hip
By Frank Ahrens
Washington Post Staff Writer
Saturday, July 26, 2003; Page E01
GLENDALE, Calif. -- If you thought Mickey Mouse was
already ubiquitous, you ain't seen nothing yet.
The sainted and globally famous four-fingered
trademark of the Walt Disney Co. is about to become
the centerpiece of a movie, retail, publishing, video
and television campaign aimed at amplifying its
marketplace presence.
This year is Mickey's 75th birthday, and the Disney
brass is determined not to let the cheerful geriatric
rodent fade from public consciousness, the victim of
company marketers too afraid to exercise the mouse's
branding power for fear of cheapening Walt Disney's
most important creation.
On Wednesday at a theater in this Los Angles suburb,
Disney Chairman Michael D. Eisner led a parade of
company executives in a rally of hundreds of employees
to reinforce that message.
Mickey "is from and of every country around the
world," said Deborah Dugan, president of Disney
publishing. "Bugs Bunny wishes he could say that," she
added, referring to the Warner Bros. character.
Beginning this fall, Gemstone Publishing will
reintroduce Disney comic books featuring Mickey and
his pals, hoping to tap into the robust comic-book
sector, which spawned and capitalized on the movie
success of "Batman," "Spider-Man" and "The Incredible
Hulk." Disney has also launched a retro-Mickey retail
blitz by selling the famous Mickey T-shirts, which
have in the past two years become hip, worn by such
celebrities as rocker Lenny Kravitz and style-maker
Sarah Jessica Parker in the HBO comedy, "Sex in the
City."
Roger Wyett, executive vice president of Disney's
global apparel, noted that Parker wore a Mickey
T-shirt on a recent episode of "Sex in the City" and
by the following Tuesday, the ultra-chic Fred Segal
Hollywood clothing boutique had already sold 60 of the
T-shirts -- at $43 each.
"We timed it -- [Parker] was onscreen with the T-shirt
for four minutes," Wyett said. In other words, it was
dream marketing for Mickey.
Wyett noted that when Kravitz appeared in a magazine
photograph two years ago wearing a vintage Mickey
T-shirt, "it hit us like a two-by-four over the head."
Trips to vintage-clothing stores -- where used Mickey
T-shirts were selling for $100 to $300 -- confirmed
that Mickey T's were a growing cultural phenomenon and
Disney needed to monetize the trend.
Disney's consumer-products division has been flagging
since the decline of the character apparel trend in
the mid-'90s (Warner Bros. has felt the same pinch on
its character wear). Disney hopes that a Mickey
full-frontal assault can help the division, though
there is no guarantee that consumers have more of an
appetite for the mighty Mouse, as evidenced by the
division's poor results.
In the second quarter this year, revenue for the
consumer-products division was $500 million, down 14
percent from the second quarter of 2002. Much of the
drag comes from soft sales at North America's 387
Disney stores, down from 522. Disney sold its stores
in Japan last year and said in May that it would also
sell its North American and European stores to a
retailer practiced in running stores.
At the same time, Disney has turned to alternative
ways of marketing its products.
Nina Jacobson, president of Disney's Buena Vista
Motion Pictures Group, was asked to hand out Mickey
T-shirts to movie stars who visited her office with
the hope that they would wear them and be
photographed. She gave them to Sharon Stone, Jodie
Foster and Freddie Prinze Jr., among others.
Disney is engaging in guerrilla marketing elsewhere in
its home city. Disney enlisted a graffiti artist to
render classic black-and-white Mickey comic strips on
the sides of buildings on chic Sunset Boulevard and
Melrose Avenue -- with permission, of course.
Mickey's muscling-up is largely the work of Andrew
Mooney, head of Disney consumer products. When he
arrived four years ago, he found Mickey bound by
ancient and Byzantine strictures determining how he
could appear and in what form. Mickey was something of
a sacred figure, and many in the company feared
blaspheming him by putting him on too many products.
Mooney, an early employee of Nike, realized that
Mickey was Disney's "swoosh' -- the equivalent of the
logo on Nike shoes. At the same time, Mooney sought to
preserve the aging mouse's dignity, employing him
judiciously.
For example, in November, dozens of Mickey statues,
painted in various motifs, similar to the "Party
Animal" donkeys and elephants around Washington D.C.,
will debut in Disney World. They will later tour the
country.
More Mickey-intensive efforts will roll out over the
next three years, including "The Three Musketeers," a
straight-to-video movie scheduled to be released in
August 2004. In fall of next year, Disney comic strips
featuring Mickey will appear in newspapers.
But it's likely that nothing will spread Mickey's
mouse-face as widely as a three-year U.S. Postal
Service commemorative stamp program that is to begin
next year. The stamp designs will debut at Walt Disney
World in October.
Vivendi Universal's Grinch character from Dr. Seuss
books has appeared on a stamp, as well as other
trademarked images owned by large corporations.
If the Mickey campaign goes well, Wyett suggested
other projects for Disney.
"What's next?" he asked the group of employees.
"Donald Duck? Tinkerbell?"
__________________________________
Do you Yahoo!?
Yahoo! SiteBuilder - Free, easy-to-use web site design software
http://sitebuilder.yahoo.com
Daniel Van Eijmeren
Mastering the Matterhorn (Larry, Carey, Olivier)
Message 338 -
2003-07-29 at 16:49:07
This email is for Larry Giver, Carey Furlong, Olivier, and everyone
else interested in this subject about Barks's 8-pager "Mastering the
Matterhorn" (OS 1025).
CAREY FURLONG to me, 21-07-2003:
>> [] In panel 1.5, Donald says that
>> somebody else must be using the toboggan. Could the toboggan (or
>> "Toboggan"?) be a reference to Disneyland? Is (or was) it an
>> attraction, for example?
> Yes, this is a reference to the Bobsled ride in Disneyland, which
> opened on June 14th, 1959, the same year the story was published.
> When Barks wrote "Mastering the Matterhorn" the ride was not yet
> open, and details about it were obviously sketchy at best. So,
> Barks apparently improvised and assumed the ride was about toboggans
> (in this case one toboggan -- how could he know different?). As it
> turned out, the Bobsleds ride more closely resembled a customized
> roller coaster.
I should have mentioned that Barks only did the art for this story, at
least officially. Still, this doesn't make clear if it was the writer
or Barks who invented the design of the story's toboggan. It only shows
that Barks may not be responsible for the design, or not entirely
responsible.
On panel 5.3, the toboggan is shown. It looks like a sled. The Beagle
Boys put rockets on it, so they shot up the Matterhorn with the greatest
of ease.
I wonder how they could have used this toboggan *without* those rockets.
The toboggan doesn't look like it can go up by itself alone. And in panel
7.6, a nephew comments that it's too steep to toboggan back down. Another
nephew gets the idea of firing the rockets backward, so they can go down
at a safe speed. But how would they have used the toboggan if it was kept
standard, *without* these forward/backward rockets?
OLIVIER to me, 23-07-2003:
> Well, the question has already been answered. Seems like I made a
> mistake back then, and assumed the story took place on the real
> mountain. Well, at least, apart from this reference, there isn't
> anything actually setting the action in the park; it can be any
> mountain.
The story doesn't seem to give information about this Matterhorn being
for real or not. For a 4478 meters high mountain, the ducks climb it
rather easily and quickly. But, on panel 5.1, the Beagle Boys refer to
the snow being everlasting. Would this also be the case on the Disneyland
Matterhorn?
How high is the Disneyland Matterhorn? Is it an exact (but scaled) copy
of the real Matterhorn?
Maybe the story just pretends that the Matterhorn in Disneyland is the
same mountain as the real Matterhorn in the alps in Europe.
(I took the information on the Matterhorn being 4478 meters high,
from this webpage: http://www.ivo.se/mike/matter.html)
--- Dani?l
else interested in this subject about Barks's 8-pager "Mastering the
Matterhorn" (OS 1025).
CAREY FURLONG to me, 21-07-2003:
>> [] In panel 1.5, Donald says that
>> somebody else must be using the toboggan. Could the toboggan (or
>> "Toboggan"?) be a reference to Disneyland? Is (or was) it an
>> attraction, for example?
> Yes, this is a reference to the Bobsled ride in Disneyland, which
> opened on June 14th, 1959, the same year the story was published.
> When Barks wrote "Mastering the Matterhorn" the ride was not yet
> open, and details about it were obviously sketchy at best. So,
> Barks apparently improvised and assumed the ride was about toboggans
> (in this case one toboggan -- how could he know different?). As it
> turned out, the Bobsleds ride more closely resembled a customized
> roller coaster.
I should have mentioned that Barks only did the art for this story, at
least officially. Still, this doesn't make clear if it was the writer
or Barks who invented the design of the story's toboggan. It only shows
that Barks may not be responsible for the design, or not entirely
responsible.
On panel 5.3, the toboggan is shown. It looks like a sled. The Beagle
Boys put rockets on it, so they shot up the Matterhorn with the greatest
of ease.
I wonder how they could have used this toboggan *without* those rockets.
The toboggan doesn't look like it can go up by itself alone. And in panel
7.6, a nephew comments that it's too steep to toboggan back down. Another
nephew gets the idea of firing the rockets backward, so they can go down
at a safe speed. But how would they have used the toboggan if it was kept
standard, *without* these forward/backward rockets?
OLIVIER to me, 23-07-2003:
> Well, the question has already been answered. Seems like I made a
> mistake back then, and assumed the story took place on the real
> mountain. Well, at least, apart from this reference, there isn't
> anything actually setting the action in the park; it can be any
> mountain.
The story doesn't seem to give information about this Matterhorn being
for real or not. For a 4478 meters high mountain, the ducks climb it
rather easily and quickly. But, on panel 5.1, the Beagle Boys refer to
the snow being everlasting. Would this also be the case on the Disneyland
Matterhorn?
How high is the Disneyland Matterhorn? Is it an exact (but scaled) copy
of the real Matterhorn?
Maybe the story just pretends that the Matterhorn in Disneyland is the
same mountain as the real Matterhorn in the alps in Europe.
(I took the information on the Matterhorn being 4478 meters high,
from this webpage: http://www.ivo.se/mike/matter.html)
--- Dani?l
Daniel Van Eijmeren
Scrooge's billionaires club
Message 339 -
2003-07-29 at 17:20:00
In private, Frank Bubacz and I had a discussion about the creation of
Scrooge's billionaires club. You can read it below. Any information,
questions, or comments, are welcome!
F = Frank
D = me
F> -Scrooge's billionaires club isn't a Barks creation, as he first
F> used it in a story not written by himself: The Christmas Cha Cha!
D> This makes me curious if the billionaires club has been used before
D> "The Christmas Cha Cha!".
F> Actually I learnt in the meantime that there is an earlier (Barks-
F> written!) story that contains something comparable: The Titanic Ants.
F> I don't know, however, if the name 'billionaires club' is mentioned.
D> In the opening panel, Donald says that "today is the date of the
D> Duckburg BILLIONAIRES PICNIC!" I haven't found other references in
D> the story.
Note: The INDUCKS story code of "The Titanic Ants" is "W DD 60-02".)
D> BTW. Barks rewrote scripts, which hasn't always been documented. If
D> "The Christmas Cha Cha!" is the first story with the club, then there
D> still might be a chance that it was created by Barks.
F> The chance is there, but my instincts tell me it wasn't Barks' idea to
F> use it in that story, because he would probably have given it more of a
F> function. (Or does it have? Can't really remember...)
D> If I remember well, the club has a function. Scrooge is worried about
D> the bad reputation of the club, and then the club lures him into doing
D> something about it by giving away a prize for the best dancing couple.
F> Still, it was not really necessary to use the club, because Scrooge
F> could have been worried about his own reputation instead. In the 'Ants'
F> story there is a reason for it to be included, as Barks seems to have
F> aimed for the main sight gag of upper class snobs in embarrassing
F> situations.
Note: This is the point were Frank and I agreed to continue the discussion
here, on DCML.
--- Dani?l
Scrooge's billionaires club. You can read it below. Any information,
questions, or comments, are welcome!
F = Frank
D = me
F> -Scrooge's billionaires club isn't a Barks creation, as he first
F> used it in a story not written by himself: The Christmas Cha Cha!
D> This makes me curious if the billionaires club has been used before
D> "The Christmas Cha Cha!".
F> Actually I learnt in the meantime that there is an earlier (Barks-
F> written!) story that contains something comparable: The Titanic Ants.
F> I don't know, however, if the name 'billionaires club' is mentioned.
D> In the opening panel, Donald says that "today is the date of the
D> Duckburg BILLIONAIRES PICNIC!" I haven't found other references in
D> the story.
Note: The INDUCKS story code of "The Titanic Ants" is "W DD 60-02".)
D> BTW. Barks rewrote scripts, which hasn't always been documented. If
D> "The Christmas Cha Cha!" is the first story with the club, then there
D> still might be a chance that it was created by Barks.
F> The chance is there, but my instincts tell me it wasn't Barks' idea to
F> use it in that story, because he would probably have given it more of a
F> function. (Or does it have? Can't really remember...)
D> If I remember well, the club has a function. Scrooge is worried about
D> the bad reputation of the club, and then the club lures him into doing
D> something about it by giving away a prize for the best dancing couple.
F> Still, it was not really necessary to use the club, because Scrooge
F> could have been worried about his own reputation instead. In the 'Ants'
F> story there is a reason for it to be included, as Barks seems to have
F> aimed for the main sight gag of upper class snobs in embarrassing
F> situations.
Note: This is the point were Frank and I agreed to continue the discussion
here, on DCML.
--- Dani?l
Stefan Persson
Who has made Disney comics the longest time?
Message 340 -
2003-07-30 at 14:09:48
>From: S?ren Krarup Olesen <raptus at stofanet.dk>
>To: Disney Comics Mailing List <dcml at stp.ling.uu.se>
>Subject: Who has made Disney comics the longest time?
>Date: Fri, 25 Jul 2003 15:43:42 +0200
>The two candidates for the "prize" are however Luciano Bottaro and Romano
>Scarpa. Bottaro: 1952-2001, Scarpa: 1953-2002 (both 49 years of comic
>making!)
Isn't Scarpa still making comics?
Stefan
_________________________________________________________________
Hitta r?tt p? n?tet med MSN S?k http://search.msn.se/
>To: Disney Comics Mailing List <dcml at stp.ling.uu.se>
>Subject: Who has made Disney comics the longest time?
>Date: Fri, 25 Jul 2003 15:43:42 +0200
>The two candidates for the "prize" are however Luciano Bottaro and Romano
>Scarpa. Bottaro: 1952-2001, Scarpa: 1953-2002 (both 49 years of comic
>making!)
Isn't Scarpa still making comics?
Stefan
_________________________________________________________________
Hitta r?tt p? n?tet med MSN S?k http://search.msn.se/
Francesco Spreafico
Who has made Disney comics the longest time?
Message 341 -
2003-07-30 at 14:18:28
Stefan Persson wrote:
> Isn't Scarpa still making comics?
Yep, and Bottaro too, actually!
--
Francesco
http://www.dimensionedelta.net/scarpa
> Isn't Scarpa still making comics?
Yep, and Bottaro too, actually!
--
Francesco
http://www.dimensionedelta.net/scarpa
Kriton Kyrimis
Gemstone's mix (practically off-topic: An apology)
Message 342 -
2003-07-30 at 14:47:34
OLAF:
> -- Did anyone recognize the verse from my signature? It was the chorus from
> Alanis Morrisette's "Ironic".
You also assume that people would know who Alanis Morrisette is...
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"Reason is the last thing you must expect, in this or any other world."
-----
> -- Did anyone recognize the verse from my signature? It was the chorus from
> Alanis Morrisette's "Ironic".
You also assume that people would know who Alanis Morrisette is...
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"Reason is the last thing you must expect, in this or any other world."
-----
Kriton Kyrimis
Disney Mickey Mouse comic strip returns to America
Message 343 -
2003-07-30 at 15:25:55
MIKE:
> Beginning this fall, Gemstone Publishing will
> reintroduce Disney comic books featuring Mickey and
> his pals, hoping to tap into the robust comic-book
> sector, which spawned and capitalized on the movie
> success of "Batman," "Spider-Man" and "The Incredible
> Hulk."
So *that's* why Gemstone decided to publish Disney comics!!! :-)
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"Reason is the last thing you must expect, in this or any other world."
-----
> Beginning this fall, Gemstone Publishing will
> reintroduce Disney comic books featuring Mickey and
> his pals, hoping to tap into the robust comic-book
> sector, which spawned and capitalized on the movie
> success of "Batman," "Spider-Man" and "The Incredible
> Hulk."
So *that's* why Gemstone decided to publish Disney comics!!! :-)
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"Reason is the last thing you must expect, in this or any other world."
-----
Luca Boschi
Who has made Disney comics the longest time?
Message 344 -
2003-07-30 at 16:01:02
Hello!
I must correct you, S?ren!
> The two candidates for the "prize" are however Luciano Bottaro and Romano
> Scarpa. Bottaro: 1952-2001, Scarpa: 1953-2002 (both 49 years of comic making!)
The winner is Luciano Bottaro. A new story of him was printed in 2003 (in
"Maestri Disney"). So: 1952-2003 (51 years of comic making!). And Scarpa,
indeed, is still working: 1953-2003. His jubilees is gonna be celebrated on
Xmas, with a reprint of his very first effort in Disney comics... And with a
tribute in Asolo Cartoon Preview Festival, 17-19 0ct., in Italy...
Luca
I must correct you, S?ren!
> The two candidates for the "prize" are however Luciano Bottaro and Romano
> Scarpa. Bottaro: 1952-2001, Scarpa: 1953-2002 (both 49 years of comic making!)
The winner is Luciano Bottaro. A new story of him was printed in 2003 (in
"Maestri Disney"). So: 1952-2003 (51 years of comic making!). And Scarpa,
indeed, is still working: 1953-2003. His jubilees is gonna be celebrated on
Xmas, with a reprint of his very first effort in Disney comics... And with a
tribute in Asolo Cartoon Preview Festival, 17-19 0ct., in Italy...
Luca
SBHSN
Disneyland Matterhorn
Message 345 -
2003-07-31 at 07:17:55
Daniel van Eijmeren says the Matterhorn elevation is 4478 meters in
elevation. Disneyland's' Matterhorn is probably about 50 meters from base to peak, and
the base is probably about 20 meters above sea level, so the only permanent
snow has been placed there by the Imagineers.
It's not an exact replica, but the shape is quite familiar. One can see the
bobsleds as they travel in and out of various openings in the Matterhorn's
exterior.
Go here and you will find photos of the Matterhorn: solo, behind Astro
Orbiter, and behind Submarine Lagoon...
<A HREF="http://www.mouseplanet.com/desktops/dl.htm">http://www.mouseplanet.com/desktops/dl.htm</A>
Steve in Austin
elevation. Disneyland's' Matterhorn is probably about 50 meters from base to peak, and
the base is probably about 20 meters above sea level, so the only permanent
snow has been placed there by the Imagineers.
It's not an exact replica, but the shape is quite familiar. One can see the
bobsleds as they travel in and out of various openings in the Matterhorn's
exterior.
Go here and you will find photos of the Matterhorn: solo, behind Astro
Orbiter, and behind Submarine Lagoon...
<A HREF="http://www.mouseplanet.com/desktops/dl.htm">http://www.mouseplanet.com/desktops/dl.htm</A>
Steve in Austin