DOCSLIB.ORG

24 KENTUCKY ALUMNI Don Rosa Sits in Front of a Portion of His Duck

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
24 KENTUCKY ALUMNI Don Rosa Sits in Front of a Portion of His Duck Don Rosa sits in front of a portion of his Duck family collection. 24 KENTUCKY ALUMNI Going F E A T U R E QuackersBy Linda Perry Don Rosa brings Donald Duck & Co. to millions on Rosa — that name won’t ring a bined with his talent for expressing a Dbell with most folks in the United story and bringing life to the Ducks States. But if you’re reading this in Nor- gained him a cult-like following as way or Denmark, chances are you know Donald Duck and his cohorts enter- precisely who Rosa is. It’s his stories and tained millions of fans as they struggled art in comic books that bring the antics through each adventure until Barks of- of Donald Duck’s entire family to mil- ficially retired in 1966. lions of Duck fans across Europe, as If all that sounds like a testimonial well as other parts of the globe. It’s fair to Carl Barks, Don Rosa would have it to say that these Duck fans can’t get no other way. enough of Donald, $crooge McDuck, and Huey, Dewey and Louie. Each week Tales that Fit for the past 50 years a new Duck comic book has been published in all of the the Bill European countries — and that one is- “The Walt Disney Company had noth- sue is always the largest selling anything ing to do with these characters, the cre- in Norway. ation of these characters or anything Which brings us to two questions: that’s ever been done with these char- why are Disney’s ducks so popular in acters in the comic books,” says Rosa. other countries with the general popula- He, like other fans of Carl Barks, at- tion — both young and old —and how tributes the total personality develop- did 1973 UK civil engineering grad Don ment of the entire Duck family to the Rosa develop such a significant role in talented Barks. “The greatest story- pleasing Duck fans? teller of the 20th century,” says Rosa. Don Rosa, at left, met Carl Barks once at That might be akin to asking which And Rosa would surely know. He Barks’ home in Oregon. came first, the ‘chicken’ or the egg? got hooked on comics early, thanks to his older sister’s comic book collection. Which Came First? This introduction to stories with color- Actually, first came Walt Disney and ful art on paper had a lasting impact on then came Carl Barks. him. He grew up in the ’50s and ’60s tion at UK where he earned a civil en- A short history: Donald Duck was wanting to tell stories. He practiced gineering degree in 1973. While he was created by entrepreneur Walt Disney, telling stories and creating drawings to on campus he drew editorial cartoons whose animation company used the wa- accompany them based on his sister’s for the Kentucky Kernel, along with a ter fowl in its early films. Around 1935, a collection, which included Barks com- serial comic strip called “The talented man by the name of Carl Barks ics. $crooge McDuck was his favorite Pertwillaby Papers.” This legacy of started working with Donald for Disney, and he couldn’t wait to come home work has since been collected and re- but it wasn’t until Barks began drawing from school at the end of the day and printed in other countries for fans who the angst-ridden duck for comic books concoct his own stories. just can’t get enough of Rosa’s work. by Western Publishing Company in the Later, his attempts at telling a story Rosa says he went to college be- early 1940s that the duck developed the and drawing improved to the point that cause his Italian family expected him characteristics and personality we recog- he produced art work for his school to and he did what his family wanted, nize as all Donald’s. Barks’ powerful newspaper at St. Xavier High School in which also included joining the family’s command of ink and brush strokes com- Louisville. Rosa continued his educa- ceramic tile business after graduation. KENTUCKY ALUMNI 25 Donald Duck celebrates his 70th anniversary in 2004. the right place at the right comic and from then on Rosa’s days re- time. Or a combination of all volved around ceramic tile and his eve- three. nings around his comic book. Being a fan of comic Gladstone issued Rosa’s “The Son of books, it was only natural the Sun” in 1987. It was a sequel to the Rosa would become a 1948 comic “Lost in the Andes” by Carl collector (he now has Barks. Interestingly enough, Rosa more than 40,000). based this Duck sequel on the storyline Along the way he de- contained in the first comic strip he veloped relationships wrote for the Kentucky Kernel. As for with other collectors the Duck family, Rosa tried to capture and people in the the personalities of the characters in the comic book busi- Barks manner, relating a story that’s ness via his freelance comic more about real people — not cartoon book contributions, conventions ducks — who have adventures within and swap sessions. After Disney comics the context of a real world. had not been published in America be- Rosa continued to supply Gladstone tween 1975 and 1985, Gladstone Pub- with stories. “They did a fabulous job. Don Rosa’s first editorial cartoon for the lishing, a small three-person company Gladstone … showed other publishers Kentucky Kernel on Aug. 26, 1969 in Arizona, obtained the license to pub- they could produce Disney comics both shows Otis Singletary, as UK’s new lish the comics simply because no one for kids and adults,” says Rosa. president, dealing with the controversial else wanted to. When Rosa realized Before long, he and family members issues of the day. that the first Disney/Duck comics in 10 agreed to liquidate the tile business, years were about to be released in 1987, thus allowing Rosa more time for his he moved on what he saw as a unique comic book work. Rosa also worked on However, he used every spare moment opportunity for himself. The 36-year- other Disney-oriented projects, includ- he had to tell stories on paper. Various old approached Byron Erickson, the ing scripting for “TaleSpin.” publications occasionally carried his editor at Gladstone, and told him it was In the early 1990s, wanting to devote freelance cartoons, like The Louisville his destiny to draw $crooge and his attention to comics again, Rosa be- Times did, publishing a weekly strip of Donald, he was up to the task and he came involved with the one market that his called “Captain Kentucky,” featuring was not going to take “no” for an an- had not seen a decline in comic book Lancelto Pertwillaby. Don eventually swer. sales: Europe. wrapped up that series and killed off Erickson agreed to let him try one the main character. Ducking History Waddling into “Disney comics were the best selling comic books in American the Big Time history, as well as world history. So how did Rosa, a man with no formal In the mid-’50s they were selling art training, living in Kentucky and two million to three million cop- working at a ceramic tile company, get ies an issue. Fifty years later, to do what he loves most — tell stories what would you expect sales to — and then go on to become a celebrity be? Twice that? Ten times that? in other countries? How is it that there Disney comics don’t even exist are thousands of fan Web site pages de- anymore in the United States,” voted to him and his work? How is it says Rosa. “Nowadays, a success- that this Kentuckian is so popular in ful comic here only sells about Europe that his name is an answer on a 20,000 copies.” crossword puzzle in Italy? How is it Over the years in the United States, lead characters and the that he can walk down a street in Eu- II Sommers John Photo: rope and be called by name, but his subject matter in comics have Don and Ann Payne Rosa ’72 live in a rural part of changed. So-called superheroes neighbors in Jefferson County don’t Jefferson County with three basset hounds and one know what he does for a living? cockatoo named Gyro Gearloose. Ann recently retired with names like Spider-man, X- Maybe it’s magic. Maybe it’s about after 30 years from Thomas Jefferson Middle School Men and The Hulk have ap- risk-taking. Maybe it’s about being in as a social studies teacher. peared. Though comic books are 26 KENTUCKY ALUMNI F E A T U R E In Finland (5 million people) Aku Ankka comics sell over 350,000 each week. It is estimated that each of those issues is read by an average of 4 people. still popular with a core group of dedi- about obtaining the fi- cated fans, the overall sales of comics in nal product; it’s as much the United States has diminished from about the joy of the its highest circulation around World journey and spending War II. Today, comic books in the all day doing what you United States typically are sold only in love to do. specialty comic book stores. He meticulously re- But other countries march to the searches all of his stories beat of a different drummer. Not only because he wants to get did comic book sales not decline in Eu- the tale just right, since rope, they continued to increase.
Load more

Recommended publications
  • Americana E-Journal of American Studies in Hungary
    AMERICANA E-JOURNAL OF AMERICAN STUDIES IN HUNGARY VOLUME X, NUMBER 1, SPRING 2014 "ANIMATED NOIR: INVESTIGATING WALT DISNEY’S FEMALE CHARACTERS OF THE 1940S AND 1950S" BY EMMA BÁLINT Emma Bálint is an MA student at the Institute of English and American Studies, University of Szeged. Email: emma.balint@ieas­szeged.hu INTRODUCTION Since the establishment of the studio in the early 1920s, the Walt Disney Productions’ animators have designed, drawn and animated numerous helpless damsels in distress, who always submissively abide by the rules of a strictly heterosexual and patriarchal realm. In the 1940s and 1950s, during the classical era of film noir, however, the animation studio daringly adopted the then popular cinematic style known for the portrayal of rather domineering women along with plots and themes generally unfit for young audiences. The purpose of this essay is to observe the overall influence of film noir on the renowned Disney imagery in the resulting animated noirs, namely Donald’s Crime (dir. Jack King, 1945), Duck Pimples (dir. Jack Kinney, 1945), and How to be a Detective (dir. Jack Kinney, 1952), with a particular focus on the way the typical Disney female character has been merged with the stereotypical noir woman, the femme fatale, who, in contrast, possesses both agency and narrative significance. Following a brief description of the era dominated by and the visual and narrative elements characteristic of the film noir style, I will discuss the short films and the female characters featured in them with the help of certain notions of psychoanalytic and feminist film theories, which have both been extremely influential in the study of film noir in general.
    [Show full text]
  • Journal of Religion & Society
    Journal of Religion & Society Volume 6 (2004) ISSN 1522-5658 David, Mickey Mouse, and the Evolution of an Icon1 Lowell K. Handy, American Theological Library Association Abstract The transformation of an entertaining roguish figure to an institutional icon is investigated with respect to the figures of Mickey Mouse and the biblical King David. Using the three-stage evolution proposed by R. Brockway, the figures of Mickey and David are shown to pass through an initial entertaining phase, a period of model behavior, and a stage as icon. The biblical context for these shifts is basically irretrievable so the extensive materials available for changes in the Mouse provide sufficient information on personnel and social forces to both illuminate our lack of understanding for changes in David while providing some comparative material for similar development. Introduction [1] One can perceive a progression in the development of the figure of David from the rather unsavory character one encounters in the Samuel narratives, through the religious, righteous king of Chronicles, to the messianic abstraction of the Jewish and Christian traditions.2 The movement is a shift from “trickster,” to “Bourgeoisie do-gooder,” to “corporate image” proposed for the evolution of Mickey Mouse by Robert Brockway.3 There are, in fact, several interesting parallels between the portrayals of Mickey Mouse and David, but simply a look at the context that produced the changes in each character may help to understand the visions of David in three surviving biblical textual traditions in light of the adaptability of the Mouse for which there is a great deal more contextual data to investigate.
    [Show full text]
  • An Exploration of Comics and Architecture in Post-War Germany and the United States
    An Exploration of Comics and Architecture in Post-War Germany and the United States A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Ryan G. O’Neill IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Rembert Hueser, Adviser October 2016 © Ryan Gene O’Neill 2016 Table of Contents List of Figures……………………………………………………………………………………...……….i Prologue……………………………………………………………………………………….....…1 Introduction………………………………………………………………………………………...8 Chapter 1: The Comic Laboratory…………………………………………………...…………………………………….31 Chapter 2: Comics and Visible Time…………………………………………………………………………...…………………..52 Chapter 3: Comic Cities and Comic Empires………………………………...……………………………...……..…………………….80 Chapter 4: In the Shadow of No Archive…………………………………………………………………………..…….…………114 Epilogue: The Painting that Ate Paris………………………………………………………………………………...…………….139 Works Cited…..……………………………………………………………………………..……152 i Figures Prologue Figure 1: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 2: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 3: Image of Vitra Feuerwehrhaus Uncredited. https://www.vitra.com/de-de/campus/architecture/architecture-fire-station Figure 4: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Introduction Figure 1: Goscinny, René (w), Alberto Uderzo (i). Die Trabantenstadt. trans. Gudrun Penndorf. Stuttgart: Ehapa Verlag GmbH, 1974. Pp.28-29. Print. Figure 2: Forum at Pompeii, Vitruvius Vitrubius. The Ten Books on Architecture. trans. Morris Hicky Morgan, Ph.D., LL.D. Illustrations under the direction of Herbert Langford Warren, A.M. pp. 132. Print. Figure 3: Töpffer, Rodolphe.
    [Show full text]
  • Translations of Sound Effects in Seven Comics
    KPOW, CHINK, SPLAT: Translations of Sound Effects in Seven Comics Vilma Kokko MA thesis University of Turku School of Languages and Translation Studies Department of English; English Translation and Interpreting May 2013 TURUN YLIOPISTO Kieli- ja käännöstieteiden laitos/humanistinen tiedekunta KOKKO, VILMA: KPOW, CHINK, SPLAT: Translations of Sound Effects in Seven Comics Pro gradu -tutkielma, 106 s. Englannin kieli, englannin kääntäminen ja tulkkaus Toukokuu 2013 Tämä pro gradu -tutkielma käsittelee äänitehosteiden kääntämistä sarjakuvissa. Tutkimus perustuu seitsemän eri sarjakuvan äänitehosteiden ja niiden suomennoksien vertailuun. Tutkitut tehosteet on kerätty yhdeksi korpukseksi kolmesta Aku Ankka -tarinasta, Tenavat- ja Lassi ja Leevi -stripeistä sekä Batman- ja Vartijat- sarjakuvaromaaneista. Sarjakuvat edustavat osittain eri genrejä, jotta saadaan tietoa erityyppisten sarjakuvien mahdollisesti erilaisista käännöskonventioista. Aku Ankka -sarjakuvien määrää on painotettu, jotta olisi mahdollista saada tarkempi kuva yhdestä yksittäisestä sarjakuvasta, jossa oletetaan äänitehosteiden pääsääntöisesti olevan käännettyjä. Äänitehosteita ja äänitehostekäännöksiä tutkitaan kahdesta eri näkökulmasta. Tutkielman ensimmäisessä osassa tarkastellaan äänitehosteissa käytettyjä käännösstrategioita ja etsitään seikkoja, jotka vaikuttavat eri käännösstrategioiden käyttöön ja tehosteiden kääntämiseen tai kääntämättä jättämiseen. Kaindlin (1999) esittelemää sarjakuvien käännösstrategiajaottelua verrataan Celottin (2008) kuvaan upotettuihin teksteihin
    [Show full text]
  • NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA
    Roy Tho mas ’Sta nd ard Comi cs Fan zine OKAY,, AXIS—HERE COME THE GOLDEN AGE NEDOR HEROES! $ NEDOR HEROES! In8 th.e9 U5SA No.111 July 2012 . y e l o F e n a h S 2 1 0 2 © t r A 0 7 1 82658 27763 5 Vol. 3, No. 111 / July 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Proofreaders Rob Smentek, William J. Dowlding Cover Artist Shane Foley (after Frank Robbins & John Romita) Cover Colorist Tom Ziuko With Special Thanks to: Deane Aikins Liz Galeria Bob Mitsch Contents Heidi Amash Jeff Gelb Drury Moroz Ger Apeldoorn Janet Gilbert Brian K. Morris Writer/Editorial: Setting The Standard . 2 Mark Austin Joe Goggin Hoy Murphy Jean Bails Golden Age Comic Nedor-a-Day (website) Nedor Comic Index . 3 Matt D. Baker Book Stories (website) Michelle Nolan illustrated! John Baldwin M.C. Goodwin Frank Nuessel Michelle Nolan re-presents the 1968 salute to The Black Terror & co.— John Barrett Grand Comics Wayne Pearce “None Of Us Were Working For The Ages” . 49 Barry Bauman Database Charles Pelto Howard Bayliss Michael Gronsky John G. Pierce Continuing Jim Amash’s in-depth interview with comic art great Leonard Starr. Rod Beck Larry Guidry Bud Plant Mr. Monster’s Comic Crypt! Twice-Told DC Covers! . 57 John Benson Jennifer Hamerlinck Gene Reed Larry Bigman Claude Held Charles Reinsel Michael T.
    [Show full text]
  • Ankkakielen Meemit – Analyysi Aku Ankan Suomennosten Adaptaatioperäisestä Aineksesta
    Ankkakielen meemit – analyysi Aku Ankan suomennosten adaptaatioperäisestä aineksesta Ville Viitanen Tampereen yliopisto Viestintätieteiden tiedekunta Monikielisen viestinnän ja käännöstieteen maisteriopinnot Englannin kääntämisen ja tulkkauksen opintosuunta Pro gradu -tutkielma Toukokuu 2017 Tampereen yliopisto Monikielisen viestinnän ja käännöstieteen maisteriopinnot viestintätieteiden tiedekunta VIITANEN, VILLE: Ankkakielen meemit – analyysi Aku Ankan suomennosten adaptaatioperäisestä aineksesta Monikielisen viestinnän pro gradu -tutkielma, 74 sivua + englanninkielinen lyhennelmä 16 sivua Toukokuu 2017 ___________________________________________________________________________ Käsittelen tutkielmassani Aku Ankka -sarjakuvalehden käännöskielelle ominaisia piirteitä ja niiden alkuperää. Selvitän vertailevan tekstianalyysin keinoin, millä tavoin lehdessä julkaistut suomennokset poikkeavat lähtöteksteistä, ja pohdin havaintojeni pohjalta, millaiset mekanismit kohdetekstiä mukauttavien käytäntöjen taustalla vaikuttavat. Taustoitan tutkimustani esittelemällä sarjakuvakääntämisen erityispiirteitä ja käytäntöjä sekä tutkimusaineistooni monin tavoin rinnastuvassa käännetyssä lastenkirjallisuudessa yleisiä adaptaatiota hyödyntäviä toimintatapoja. Teoreettisena viitekehyksenä käytän Georges L. Bastinin, Göte Klingbergin ja Zohar Shavitin adaptaatiotutkimusta ja havaintojeni erittelyn apuvälineenä Andrew Chestermanin esittämää Richard Dawkinsin kehittämään memetiikan käsitteeseen pohjautuvaa analyysimallia. Muodostan aiempien tutkimusten sekä ei-tieteellisten
    [Show full text]
  • Nieuwigheden Anderstalige Strips 2014
    NIEUWIGHEDEN ANDERSTALIGE STRIPS 2014 WEEK 2 Engels All New X-Men 1: Yesterday’s X-Men (€ 19,99) (Stuart Immonen & Brian Mickael Bendis / Marvel) All New X-Men / Superior Spider-Men / Indestructible Hulk: The Arms of The Octopus (€ 14,99) (Kris Anka & Mike Costa / Marvel) Avengers A.I.: Human After All (€ 16, 99) (André Araujo & Sam Humphries / Marvel) Batman: Arkham Unhinged (€ 14,99) (David Lopez & Derek Fridols / DC Comics) Batman Detective Comics 2: Scare Tactics (€ 16,99) (Tony S. Daniel / DC Comics) Batman: The Dark Knight 2: Cycle of Violence (€ 14,99) (David Finch & Gregg Hurwitz / DC Comics) Batman: The TV Stories (€ 14,99) (Diverse auteurs / DC Comics) Fantastic Four / Inhumans: Atlantis Rising (€ 39,99) (Diverse auteurs / Marvel) Simpsons Comics: Shake-Up (€ 15,99) (Studio Matt Groening / Bongo Comics) Star Wars Omnibus: Adventures (€ 24,99) (Diverse auteurs / Dark Horse) Star Wars Omnibus: Dark Times (€ 24,99) (Diverse auteurs / Dark Horse) Superior Spider-Men Team-Up: Friendly Fire (€ 17,99) (Diverse auteurs / Marvel) Swamp Thing 1 (€ 19,99) (Roger Peterson & Brian K. Vaughan / Vertigo) The Best of Wonder Wart-Hog (€ 29,95) (Gilbert Shelton / Knockabout) West Coast Avengers: Sins of the Past (€ 29,99) (Al Milgrom & Steve Englehart / Marvel) Manga – Engelstalig: Naruto 64 (€ 9,99) (Masashi Kishimoto / Viz) Naruto: Three-in-One 7 (€ 14,99) (Masashi Kishimoto / Viz) Marvel Omnibussen in aanbieding !!! Avengers: West Coast Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Marvel Now ! $ 99,99 NU: 49,99 Euro !!! Punisher by Rick Remender $ 99,99 NU: 49,99 Euro !!! The Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Ultimate Spider-Man: Death of Spider-Man $ 75 NU: 39,99 Euro !!! Untold Tales of Spider-Man $ 99,99 NU: 49,99 Euro !!! X-Force vol.
    [Show full text]
  • Disney Comics from Italy♦ © Francesco Stajano 1997-1999
    Disney comics from Italy♦ © Francesco Stajano 1997-1999 http://i.am/filologo.disneyano/ A Roberto, amico e cugino So what exactly shall we look at? First of all, the Introduction fascinating “prehistory” (early Thirties) where a few pioneering publishers and creators established a Disney Most of us die-hard Disney fans are in love with those presence in Italy. Then a look at some of the authors, seen comics since our earliest childhood; indeed, many of us through their creations. Because comics are such an learnt to read from the words in Donald’s and Mickey’s obviously visual medium, the graphical artists tend to get balloons. Few of us, though, knew anything about the the lion’s share of the critics’ attention; to compensate for creators of these wonderful comics: they were all this, I have decided to concentrate on the people who calligraphically signed by that “Walt Disney” guy in the actually invent the stories, the script writers (though even first page so we confidently believed that, somewhere in thus I’ve had to miss out many good ones). This seems to America, a man by that name invented and drew each and be a more significant contribution to Disney comics every one of those different stories every week. As we studies since, after all, it will be much easier for you to grew up, the quantity (too many) and quality (too read a lot about the graphical artists somewhere else. And different) of the stories made us realise that this man of course, by discussing stories I will also necessarily could not be doing all this by himself; but still, we touch on the work of the artists anyway.
    [Show full text]
  • The Big Fat Flat Blot Plot
    eap into action with Donald Duck and Mick ey Mouse for a wild collection of modern-day L comics classics featuring the return of the diabolical Phantom Blot! When the supervillain Blot turns himself two dimen- sional, daring Mickey can only stop his crime spree by hopping dimensions! Then, unlucky Donald finally wins the lottery... and will do anything to hang on to his prize! All the stories from IDW’s Donald and Mickey #1 and 2 are here, including work by fan-favorite writer-artists William Van Horn and Andrea “Casty” Castellan! The Big Fat Flat Blot Plot From Italian Topolino #2619, 2006 Writer: Andrea “Casty” Castellan Artist: Lorenzo Pastrovicchio Colorists: Disney Italia with Digikore Studios, Erik Rosengarten, and Nicole and Travis Seitler Letterers: Nicole and Travis Seitler Translation and Dialogue: Jonathan H. Gray Yard Wars From Dutch Donald Duck #27/1995 Writer: Frank Jonker Artist: Bas Heymans Colorists: Sanoma and Digikore Studios The Saucerer’s a Menace! Letterers: Nicole and Travis Seitler From Danish Anders And & Co. #13/2005 Translation and Dialogue: Maura McManus Writer: Kari Korhonen Artist: Daniel Branca Colorists: Digikore Studios and Tim Artz with Nicole and Travis Seitler Letterers: Nicole and Travis Seitler Translation and Dialogue: Thad Komorowski Special thanks to Eugene Paraszczuk, Julie Dorris, Carlotta Quattricolo, Chris Troise, Roberto Santillo, Manny Mederos, Camille Vedove, Stefano Ambrosio, and Thomas Jensen. For international rights, contact [email protected] ISBN: 978-1-68405-136-6 21 20 19 18 1 2 3 4 Greg Goldstein, President & Publisher • Robbie Robbins, EVP & Sr. Art Director • Chris Ryall, Chief Creative Officer & Editor-in-Chief • Matthew Ruzicka, CPA, Chief Financial Officer • David Hedgecock, Associate Publisher • Laurie Windrow, Senior Vice President of Sales & Marketing Lorelei Bunjes, VP of Digital Services • Eric Moss, Sr.
    [Show full text]
  • Parking Information
    Parking Information Suburban Collection Showplace is conveniently located at 46100 Grand River Avenue, between Novi and Beck Roads in Novi, MI. Our Facility can be accessed From I-96 at the Novi and Beck Road exits. Parking will have a small charge For each day oF the event. There will be a Fully-equipped press room on site. Interviews may not be conducted inside the press room. More details on the location oF the press room will be provided. 3 Motor City Comic Con Floor Plan 2014 4 Schedule of Events *Schedule is subject to change Friday: ñ “Sweep the Leg” Panel with Billy Zabka and Martin Kove-Time TBD o They will discuss their roles in The Karate Kid ñ Ready-To-Play Deck Event-Beginners Level-Time TBD o Card game For beginners ñ Friday Anime Programming Schedule: o 11:30 a.m: Urusei Yatsura o Noon: Dirty Pair o 12:55 p.m.: Bodacious Space Pirates o 2:10 p.m.: Shinesmen o 3:10 p.m.: Saint Seiya o 4:30 p.m.: Tiger & Bunny- The Movie o 6:00 p.m.: Read or Die Saturday: ñ Costume Cosplay Contest (ages 13+)-Time TBD ñ Standard Format Constructed Event-Experienced Level o Card game For experienced gamers ñ Saturday Anime Programming Schedule: o 10:30 a.m.: Little Witch Academia o 11:00 a.m.: Fairy Tail o 12:15 p.m.: TBA o 2:15 p.m.: Nadia: The Secret oF Blue Water o 3:30 p.m.: TBA o 4:45 p.m.: Level E o 5:30 p.m.: TBA o 6:15 p.m.: Good Luck Girl o 7:30 p.m.: Akira o 9:30 p.m.: High School oF the Dead o 10:30 p.m.: Space Adventure Cobra ñ Get Drunk on Comics Panel-Time TBD o The guys From the Drunk on Comics podcast will discuss podcasting,
    [Show full text]
  • The Summer Lobo, Volume 009, No 2, 6/16/1939
    University of New Mexico UNM Digital Repository 1938 The aiD ly Lobo 1931 - 1940 6-16-1938 The ummeS r Lobo, Volume 009, No 2, 6/16/1939 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1938 Recommended Citation University of New Mexico. "The ummeS r Lobo, Volume 009, No 2, 6/16/1939." 9, 2 (1938). https://digitalrepository.unm.edu/ daily_lobo_1938/35 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1931 - 1940 at UNM Digital Repository. It has been accepted for inclusion in 1938 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. e Four THE SUMMER LOBO Tuesday, June 6, 1939 liant :McLeish Dunbar, who has been organize the art department of tmmer Students Ready Dean St. Clair a professor of architecture at Scrip;ps College, California, during Cornell University ;for the past 15 which time he headed the a:rt de" T~~ SUMM~R ~LOBO o Study Hard or Hardly Study Congratulates years. partment there. Dunbar is a fellow in the Ameri- UNIVERSITY OF NEW MEXICO By Paul Kircher Publications Board can Institute of Architecture, ln Cricket, the famed English Edited and P~:~blished by the Journalism Class hum-summ.er school starts, FASHION PREVIEW 1931 he was granted .a four years' game, is a popular student sport re is a lot of hard work, while * * Health Improved; leave of absence :from Cornell to at Mount Angel College. VoL. IX ALBUQUERQUE, NEW MEXICO, FRIDAY, JUNE 16, 1939 No.2 •b(ldy else is loafing around in Fights Philistines at the seashore, or the world~s .
    [Show full text]
  • The Craig Krull Collection the Craig Krull Collection
    Disneyland COVER THE CRAIG KRULL COLLECTION THE CRAIG KRULL COLLECTION FRIDAY JUNE 9, 2017 IMMEDIATELY FOLLOWING LOT 611 OF ANIMATION & DISNEYANA AUCTION 94 LIVE • MAIL • PHONE • FAX • INTERNET Place your bid over the Internet! PROFILES IN HISTORY will be providing Internet-based bidding to qualified bidders in real-time on the day of the auction. For more information visit us @ www.profilesinhistory.com CATALOG PRICE AUCTION LOCATION (PREVIEWS BY APPOINTMENT ONLY) $35.00 PROFILES IN HISTORY, 26662 AGOURA ROAD, CALABASAS, CA 91302 CALL: 310-859-7701 FAX: 310-859-3842 This auction is a continuation of Profiles in History’s Animation & Disneyana Auction 94, which begins at 11 am PDT on June 9th, 2017, and will commence immediately following Lot 611 of Auction 94. Bidders may register by phone, online at www.profilesinhistory.com, or use the registration and bidding forms in the Auction 94 catalog. “CONDITIONS OF SALE” Profiles may accept current and valid VISA, MasterCard, Discover removed from the premises or possession transferred to Buyer unless and American Express credit or debit cards for payment but under Buyer has fully complied with these Conditions of Sale and the terms AGREEMENT BETWEEN PROFILES IN HISTORY AND the express condition that any property purchased by credit or debit of the Registration Form, and unless and until Profiles has received BIDDER. BY EITHER REGISTERING TO BID OR PLACING A card shall not be refundable, returnable, or exchangeable, and that no the Purchase Price funds in full. Notwithstanding the above, all BID, THE BIDDER ACCEPTS THESE CONDITIONS OF SALE credit to Buyer’s credit or debit card account will be issued under any property must be removed from the premises by Buyer at his or her AND ENTERS INTO A LEGALLY, BINDING, ENFORCEABLE circumstances.
    [Show full text]