Friday, July 30, 2010
[We purchased a very run-down, old house in 2006. It was owned by a little old lady, approx 80 years old in 2006 (so, she would've been born about 1925/26). She had to move to a nursing residence.
'Poppy's' story was quite tragic, and she'd become somewhat of a 'hermit'; 20 cats, no power, sewerage or water, etc, to her broken-down house. She wouldn't talk to anyone except the Real Estate Agent. She'd hoarded decades worth of rubbish, knee deep, everywhere, inside and out. We purchased the home, 'as is', including all its contents, which was mostly, literally, trash. We decided to take a bit of care in emptying the house before we demolished it, and found a few little, curious 'treasures', including these Mickey letters, inside an old dresser, which had been buried under trash over the decades.
It seems that 'Poppy' was a Mickey fan in the 1930s, and she and her mother had sent Mickey some gifts, to England. Mickey kindly responded !
We've held these letters since then.]
It is the first time I discover the letterhead of the '30s English Mickey Mouse Weekly magazine and thought you might enjoy this little treasure too.
Thursday, July 29, 2010
Two Guys Named Joe
If my review of Two Guys Named Joe: Master Animation Storytellers Joe Grant and Joe Ranft has not yet convinced you to buy the book, I believe this video will do the trick. Enjoy!
Wednesday, July 28, 2010
["Walt didn't live long enough to see us break ground in Disney World, but he used to travel all over the property with me in a jeep,” remembered Fowler. “He loved it. I remember he wanted to see how Disney World would look from the top of the Contemporary Hotel. So we got the biggest damned utility crane in Florida, and the two of us got into the bucket and they hoisted us straight up to where the lounge at the top of the Contemporary would be. I was so damn busy hanging on, hoping to get down, and he was so enthusiastic: ‘Oh, Joe, look at this! This is going to be great!’ He could visualize it all. I could see enough to realize that everything [in the plans] was properly located. Oh my, he was a wonderful man."]
- The Ryman Centennial: A Whole New Disney World by Michael Crawford
- Dateline: Walt Disney World – Mickey’s 60th Birthday Parade by Michael Crawford
- The Ryman Centennial: Jack Of All Trades by Michael Crawford
- That Mighty Microscope… by Michael Crawford
- The Walt Disney World 30th Anniversary Trading Cards Story by Wade Sampson
Tuesday, July 27, 2010
Indexing Walt's People - We need help.
Michael Barrier wrote to me recently:
[An index to the first ten volumes of Walt's People would be very valuable. There is a great deal of important information in the books, but it often is very difficult to locate. As I know from having prepared the indexes for my own books, indexing is no fun, but surely some way can be found to prepare an index for the WP books.]
To be honest, while I totally agree with Michael, I am already so swamped with my regular job, Walt's People, the blog and my other Disney-related and non-Disney-related projects that I can not see myself undertaking such a project.
Would anyone be willing to tackle this tremendous task?
Sunday, July 25, 2010
It would take a true miracle for John Canemaker's new book, Two Guys Named Joe: Master Animation Storytellers Joe Grant and Joe Ranft, not to become number one this year in my selection of best Disney history books of 2010. I have just received my review copy and none of you should miss this spectacular volume.
John Canemaker is a great storyteller and every single one of his books is a pleasure to read. John is also one of the very best Disney historians, whose level of research is equaled by very few. Finally, John knows every single Disney-related document that has already been released and is therefore able to select extremely unusual material to illustrate each of his books. Two Guys Named Joe ranks among John's three best books about Disney, along with Before the Animation Begins and Paper Dreams - The Art and Artists of Disney Storyboards. The text is gripping, the illustrations are fascinating.
There is so much to say about this book that this short review will have to be somewhat superficial. In addition to John's talent, the complex personnalities of the two artists he writes about turn their life stories into tales with real depth. There is nothing boring in the careers of those guys named Joe. The huge ego of Grant, the unexpected dark-streaks of Ranft, their passion for life, the infinite imagination of both make them three-dimensional beings which only the most gifted storytellers could have created. They are, in other words, beautiful individuals that John knew, understood and rendered with talent.
And then there are the documents that John selected to illustrate the book: from Ranft's irreverent gag drawings to drawings he did as a kid, from weird sketches that remind you of the dark imagination of Tim Burton, to storyboards from a few abandoned projects; and from Grant's early caricatures to his most recent doodles or the drawings he created with Dick Huemer for the Square World project (there are two full pages of those in the book).
To top things of, John included several caricatures and gag drawings created by John Musker. As far as caricatures go, John is probably today's equivalent of T. Hee and those gag drawings will without a doubt be as memorable for generations to come as T. Hee's were when we bought Frank and Ollie's book The Illusion of Life.
In summary: I love this book and you will too.
Reading it and looking at it made me think how much I would love to see John tackle a book about Norm Ferguson, Hams Luske, Freddy Moore and Art Babbitt and how much I would like to see a great book about the Model Shop Department released some day. For now, though, I will spend the next few weeks getting better acquainted with two guys named Joe.
Saturday, July 24, 2010
Do not miss today:
- Fantagraphics Announces "Mickey Mouse" Reprints by Douglas Wolk (thanks to CartoonBrew for the link)
- Walt Disney Family Museum celebrates Disneyland's 55th anniversary - Part I by Leo Holzer
Friday, July 23, 2010
Needless to say, the Disney historians who contribute their interviews are the keystones of the edifice, but the whole structure would fall apart or take shape much more slowly if it weren’t for a handful of enthusiasts who also play a critical part in this endeavor: digitizing and transcribing interviews, copying tapes, sending me links to new leads, spreading the word about the project,… In other words, helping us uncover more lost treasures and making them available to a wider audience each day.
A few days ago I received the transcription by Germund Von Wowern and Jim Korkis of a long-lost interview with Paul Murry by Donald Ault. Earlier in the year, Jim Korkis had sent me a rare letter by English artist Basil Reynolds, another Disney comics legend. This week, thanks to Todd Pierce’s help, we managed to recover a two-hour-long interview with Admiral Joe Fowler, whose very existence had been forgotten. Then comes the harrowing but highly rewarding task of transcribing the hundreds of interviews with Disney artists conducted by John Culhane from the ‘60s to the ‘90s. Not an easy task, when one takes into account the age of the tapes and the resulting amount of background noise, but a task that enthusiasts like James D. Marks, Edward Mazzilli, Daniel Caylor, Neil Sudgen, Robert Kolakowski, Scott Huitt, Michael Crawford, Dave de Caro, Andy Wakeley, Michael Earls, Mike Grygo, and Oswald Iten have tackled without fear.
Of course, getting access to so much material also has the healthy effect of underlying the obvious gaps. Which is how Julie Svendsen suggested to interview Walt Peregoy, how Pete Docter came to interview Art Stevens, or how I decided to contact Marge Champion, Ray Aragon, Vic Haboush, Joe Hale, Ruthie Tompson, and Carl Bongirno, who each filled a different gap in Disney history.
My other great joy comes when Walt’s People helps “feed” or inspire other Disney-related projects: From the bonuses on the Snow White Blu-Ray, to the upcoming books about Art Babbitt or “Walt before Mickey” to name just a few.
And then sometimes there is sadness. Sadness when some of the artists I interviewed die unexpectedly. Sadness when Disney historians or enthusiasts pass away. Or a different kind of sadness when I realize that some documents seem to have permanently disappeared: some of Christopher Finch and Linda Rosenkrantz’s interviews, some of Frank and Ollie’s, and most of Bob Thomas’ notes and transcripts. The loss of many interviews that Bob Thomas conducted for The Art of Animation (1958) and for Walt Disney – An American Original is particularly tragic as it includes discussions with many artists that only Thomas interviewed.
The good news, however, is that thanks to the Disney Archives half of those interviews still survive and that, thanks to Bob Thomas’ special authorization, they are being released in this volume for the first time.
An even happier news is the fact that more than half of the interviews Thomas conducted for his biography of Roy O. Disney also survived and will probably appear within Walt’s People in the years to come.
Bob Thomas’ Art of Animation and An American Original have been a key source of inspiration for thousands of artists and Disney enthusiasts, from director Brad Bird to yours truly or to new Disney historians like my good friend Tim Susanin. It is therefore with the utmost pleasure that I dedicate this entire special volume of Walt’s People to Bob Thomas’ interviews.]
Didier Ghez: Bob Thomas
Paul F. Anderson: Bob Thomas
Bob Thomas: Walt Disney
Bob Thomas: Walt Pfeiffer
Bob Thomas: Lillian Disney
Bob Thomas: Edna Disney
Bob Thomas: Ub Iwerks
Bob Thomas: Wilfred Jackson
Bob Thomas: Bill Cottrell
Bob Thomas: Herb Ryman
Jim Korkis: Walt’s secretaries
Bob Thomas: Dolores Voght Scott
Bob Thomas: Ham Luske
Bob Thomas: Woolie Reitherman
Bob Thomas: John Lounsbery
Bob Thomas: Ward Kimball
Bob Thomas: Frank Thomas
Bob Thomas: Milt Kahl
Bob Thomas: Hazel George
Bob Thomas: Marc Davis
Bob Thomas: Dick Huemer
Bob Thomas: Ollie Johnston
Bob Thomas: Ken Anderson
Bob Thomas: George Bruns
Bob Thomas: Larry Clemmons
Bob Thomas: Bill Anderson
Bob Thomas: Robert Stevenson
Bob Thomas: Bill Walsh
Bob Thomas: Roy E. Disney
Bob Thomas: Winston Hibler
Bob Thomas: James Algar
Bob Thomas: John Hench
Bob Thomas: Harper Goff
Bob Thomas: Dick Irvine
Bob Thomas: Card Walker
Bob Thomas: Donn Tatum
Bob Thomas: Wathel Rogers
Bob Thomas: Roger Broggie
Bob Thomas: Marvin Davis
Bob Thomas: Joe Potter
Bob Thomas: Robert Foster
Bob Thomas: Joe Fowler
Amazon.com is now offering one more book by Jeff Kurtti in pre-order. Jeff seems to be amazingly busy at the moment, which is great news.
Disney Cruise Line: Welcome Aboard! The Creation of the Disney Dream
Thursday, July 22, 2010
I can't wait to get the next issue of the Twenty-Three magazine (Fall 2010) that will be released on August 3, and am especially eager to read the articles about Epcot and WDI.
Wednesday, July 21, 2010
Do not miss today:
- Walt's Disneyland 1955-1966 by Wade Sampson
- "Disneyland Through the Decades" offers a different take on this theme park's fabled history by Jim Hill
Tuesday, July 20, 2010
[The Pooh book is being expanded to incorporate a chapter on the new Pooh movie to be released next year--I think in July. Officially it will be with an extra 24 pages, but I suspect there will be more. I handed my text in a few weeks ago, but the pictures went to the designer just last week and I can't imagine how he'll squeeze everything into so few pages.
I'm now working on a major update of The Art of Walt Disney due for next September.]
Do not miss today:
- Old inbetweeners refuse to fade away by Jeff (Thanks to Matt for this link)
- The Disneyland News - July 1985 on Vintage Disneyland Tickets
- The Ryman Centennial: The Phone Call by Michael Crawford
Monday, July 19, 2010
A good friend who prefers to remain anonymous for the moment is doing some serious research into the Hyperion location of the Disney Studio. He is writing a book, which will cover the years 1925 through 1939, and is looking to hear from anyone who may have photos or other interesting bits of material they would like to contribute.
I have seen some of the material and can attest to the rarity of images, and some of the research material, which have never been published previously.
Don Bluth and Fred Moore
This just in from Celbi Pegoraro:
[Writing to share two videos with Don Bluth talking about Fred Moore and Disney effects animation. I was thinking about that other day...there´s so little discussion on books about Disney effects animation.]
Friday, July 16, 2010
Michael Crawford was kind enough to send me two articles from the magazine Orlando-Land (that later became Orlando Magazine) written by Edward L. Prizer: Inside Epcot and The Disney Era in Florida. Those two articles are simply put spectacular (full of interviews, in-depth information, etc) and I am now extremely eager to locate all the other articles written by Prizer:, especially the articles that appeared in issues from May 1983 and October 1996.
Could anyone help?
[Shortly before her death, Betty Kimball got rid of a lot of Ward's stuff. Often she would just box up everything related to a particular project in a single box and sell that off. One friend of mine purchased the box with all the information and artwork on Epcot's WORLD OF MOTION and there is so much of it that he is considering creating a website to showcase it all.
On eBay this week, it looks like some other fellow got a box filled with Ward's work on "Mickey's Madhouse/Mickey's Movieland" that was going to be an element of a movie pavilion at Epcot to be located between The Land and The Imagination pavilion. That project later expanded into the Disney MGM Studios theme park but unfortunately without Ward's attraction. Here is the link to some of that paperwork. I hope whoever buys it shares some of it with the rest of us.]
Ape Pen Publishing alerts us about an upcoming event called "Celebrating 55 Years of Walt Disney's Marvelous Mechanized Magic Kingdom" that will take place on September 18th at the Disneyland Hotel and will feature as guests: Disney Legends Bob Gurr, Alice Davis, X Atencio, Katheryn Beaumont, Animatronics Creator Garner Holt, Disney Animator Floyd Norman, AA figure programer Darin Hughes, Senior Conceptual Designer at Walt Disney Imagineering Larry Nikolai, Senior Show Animator Ethan Reed, Disney Legend Milt Albright, Disney Performers Kirk Wall & John Eden, R2 D2, The Can Can Girls, Joseph windows to sky, and many others...
More info can be found at this link.
Do not miss today:
- Sneaking a peek at theme parks that might have been by Jim Hill
- The Ryman Centennial: An Intermission With Herb by Michael Crawford
- First Launch – May 27th, 1977 by Michael Crawford
- And The Relaunch – 2005 by Michael Crawford
Wednesday, July 14, 2010
George Colon also says regarding Jeff's previous book about Disneyland (Disneyland Through the Decades):
[ I found out that there is a $99 "Special Edition", signed by Marty Sklar and limited to 1000. It comes in a hard sleeve, and has 8 attraction poster reproduction postcards (including Casa de Fritos!), and a reprint of the first Disneyland Newspaper.]
Didier Ghez Why did you decide to work on that book? Can you run us through the genesis of that project?
John Canemaker: Three years ago I had lunch with Wendy Lefkon, my editor at Disney Editions. We had worked together on my books Walt Disney’s Nine Old Men, The Art and Flair of Mary Blair, and Paper Dreams. I commented that two friends of mine Joe Grant and Joe Ranft, who were great, indeed legendary, story artists of different eras and ages, died in the same year, in 2005. I noted that their combined careers and profound contributions to important films, such as SNOW WHITE and DUMBO, TOY STORY, NIGHTMARE BEFORE CHRISTMAS, among many others, and their influence on their colleagues can be seen as an overview of the history of storytelling at both the Disney and Pixar studios. I suggested to Wendy a book about “these two guys, both named Joe” and she sparked to the idea immediately and that was that. Or, as Mrs. Oskar Fischinger used to say, “It was it!”
DG: What is the most exciting material you have unearthed for this new book?
JC: Joe Grant’s pre-Disney artwork was exciting to discover. The book’s researcher, Joseph Kennedy (another Joe) found a treasure trove for me in the LA Public Library of the wonderfully clever cartoons Grant drew, starting with his first true caricature in 1929, for the LA Record newspaper. Joe Kennedy also unearthed (on microfilm) earlier drawings from 1928, which Joe Grant drew in an ultra-realistic style that emulated the drawings of his father, who was a superb illustrator and Hearst art director named George A. Grant.
Like a magician with numerous tricks up his sleeve, Joe Grant had several drawing styles throughout his career. I love the simple, exceedingly charming line drawings he used in the original 1939 sketches for his family’s springer spaniel, artwork that led sixteen years later to the famous canine Lady. There were also his brilliant, witty idea sketches for BEAUTY AND THE BEAST and THE LION KING when he returned to the Disney studio after a 40-year absence.
For Joe Ranft, we catch a good look at his quirky dark side in hilariously funny, often macabre and sometimes bawdy sketches made during intense production periods to release tension in himself and his colleagues. My book is profusely illustrated (as usual) with many drawings and photos. I try to find imagery that is unusual and rare. I create books that I would like to buy!
DG: To write this book, did you conduct a whole new set of interviews with Disney artists?
JC: Yes, I met with and spoke to family members of both Joes. I also interviewed animators, story artists, producers, animation historians, among many others. At Pixar, for example, I conducted new interviews with a slew of Joe Ranft’s colleagues, such as John Lasseter, Pete Doctor, Darla Anderson, Bob Peterson, Brenda Chapman, Lee Unkrich, Andrew Stanton, Jonas Rivera, Ed Catmull, and Brad Bird. At the Disney studio, I interviewed Burny Mattinson, Don Hahn, Howard E. Green (to whom I dedicated the book), Eric and Susan Goldberg, Andreas Deja, Pam Coats, Tom Schumacher. Outside the studio, I spoke with Tom Wilhite, Richard Williams, Darrell Van Sitters, Lane Smith, Jerry and Rebecca Rees, Jorgen Klubien, Tony Ansalmo, Kelly Asbury, Wendy Wick Reaves of the National Portrait Gallery at the Smithsonian, among others.
DG: As Disney historians and enthusiasts, can we expect any "revelations" or surprises in this book?
JC: I think readers will find revelatory the information I discovered about the personal lives of both of these creative men. Joe Grant’s family history and his little known early life before joining Disney is fascinating.
Joe Ranft’s personal story is very moving. Particularly, his struggle toward bettering himself as a person, and his positive, charitable approach to life and his fellow human beings.
DG: What are the main chapters of the book?
JC: There are thirteen chapters for each Joe. I don’t want to give away too much, but four of Joe Ranft’s chapter titles include:
“Joe! Put in the Teeth!”
“Spitting at Nuns”
“Disney Daze and That Big Crazy Kid”
“Trust the Process”
Joe Grant’s chapters include:
“Kewpies, Caskets and Shoes”
“Art Director of Myself”
“Of Wren and Witches”
“Master of the Big Idea”
DG: Any other details you can give us about it?
JC: There are two large page foldouts for each section.
The Joe Ranft foldout is his great storyboard for the Green Army Men sequence in TOY STORY. The Joe Grant foldout is beautiful storyboards for couple of sequences from DUMBO, which I don’t believe have been published before. Grant didn’t draw these boards, but he and Richard Huemer wrote a detailed first screen treatment for the film and Grant’s Character Model Department was intimately involved in the development of the story and characters, along with artists from outside his department.
DG: What other Disney-related projects are you currently working on?
No Disney writing projects at this time.
I appear on the upcoming Disney Home Entertainment DVDs for DUMBO, FANTASIA, DESTINO (which may be part of the FANTASIA dvd), and WALT AND EL GRUPO.
I will be lecturing on the two Joes and autographing my book at the Walt Disney Family Museum in San Francisco’s Presidio on August 13 and 14. Seating is limited, so interested animation fans in the area should book now at this link.
On October 1, I will lecture on the two Joes at the Museum of Modern Art in New York and also sign books.
Do not miss today:
- The Ryman Centennial: A Foxy Interlude by Michael Crawford
- The Ryman Centennial: Herb Ryman And The Myth Of Walt Disney by Michael Crawford
- Making Magic: How Computers Influenced Roller Coaster Design by Michael Crawford
- The Ryman Centennial: Herbie Ryman, Or Two Years With A Circus by Michael Crawford
- You Are Not The First To Pass This Way… by Michael Crawford
- The First Disneyland Party by Wade Sampson
Tuesday, July 13, 2010
The three books in this series were released by Editorial Alas from Barcelona just before the start of the Spanish civil war and are therefore among the rarest Disney books in Spain.
Editorial Alas also released a Mickey Mouse Annual (Almanaque Mickey 1935), which I posted on the blog 2 years ago.
[This month I provide two (2) personal live audio from 1985 to celebrate two major birthdays in July. The first (in honor of this past Fourth of July) is the 360-degree film, "American Journeys," from the World Premiere Circle Vision Theater in Tomorrowland, and the second (for Disneyland's 55th birthday this coming July 17th) is Disneyland's 30th Anniversary Parade.
Just when you think the show has ended - as an added bonus, Paul also adds his personal live audio from 1997 of the return of the 360-degree film "America The Beautiful" before the Circle Vision Theater closed for good. Enjoy...
Do not miss today:
- Interview with John Canemaker about Two Guys Named Joe by Amid Amidi
- The Good Duck Artist unmasked
- Le pubblicazioni sconosciute (o quasi) Disney fino al 1959 by Massimo Bonura
Sunday, July 11, 2010
Floyd Norman just released a new book featuring some of his famous gag drawings. As before Disk Drive - Animated Humor in the Digital Age is available through Blurb.com
[The gag book is basically a funny look at the traumatic transition animation is currently going through regarding hand drawn and digital animation. And yes, it tends to focus on what I have observed at both Disney and Pixar Animation Studios.]
[Is Bill Layne, the Disney background artist who worked at the Studio from 1942 to 1975 (standing in the above photo) the same artist as the Bill Layne who became famous for Pin Up Art?]
I believe the answer is yes, but I wondered if some of you could confirm it.
Friday, July 09, 2010
I had the pleasure of exchanging a few emails with this Carl Barks expert" last week and this lead me to three discoveries that I wanted to share:
1. Joseph has a great web site called The Good Artist, which features fascinating articles he wrote about Barks.
2. Joseph sent me the Donald Duck figurine below with the following note:
[Your image of the ceramic piece reminded me of this item an old friend gave me several months ago. It appears to have been carved in the 1930s; the wood may be monkey pod, and I have been wondering whether it was originated at the Disney studio as a mock-up for some project, carved by a talented and bored sailor aboard a ship in the Pacific, or what its source may have been. Perhaps you or your readers can shed some light on this lovely sculpture. It's about a foot high.] Any ideas?
gags he had inspired. What fun! Carl turned it into “The Candy Kid,” incorporating his gags and discarding the rest of my yarn. He did, however, use my character, “Mr. Stumble”—a gentle
Frank Stabile, manager of most of the eateries in The Magic Kingdom.
Recently, while sorting through boxes of family documents and photographs held in storage since the Sixties, David came across a mint copy of DELL’s Walt Disney’s Comics and Stories in which
“The Candy Kid” was first published: Issue 263, August 1962. Along with the comic book was a typewritten copy of the story idea I’d sent to Carl. And along with that, handwritten in pencil, were Carl’s original notes for “The Candy Kid!”]
And now for the great news from Joseph himself:
[We hope to be able to offer an archival portfolio of reproductions of Carl's twelve handwritten manuscript pages, reproductions of the three-page carbon copy of my original story idea that led to Carl's manuscript, a reproduction of the typed letter in which he first suggested doing a popcorn story, and a full-size reproduction of Carl's "Popcorn Boy Joe Cowles " gag panel. That would amount to 18 loose folio sheets printed on one side of heavy acid-free stock, within a portfolio cover. I will number and signed each set, and include a reproduction of Carl's signature.
We plan to do short press runs, somewhat "on demand," with numbering and fulfillment in the sequence in which the orders are received. Our publishing firm is set up to accept VISA and MasterCard (and Discover, too, I think). We hope to be able to keep the price under $125 plus shipping, at least for the first batch of 50 or so portfolios. I have an idea for a couple of neat things to include as surprise bonuses, too. ]
Thursday, July 08, 2010
This just in from George Colon:
[Knowing you, you're likely right on top of this, but I thought I'd send you an email anyway. The 25th Anniversary Art of Pixar Exhibit opens at the Oakland Museum on July 31st. The Exhibit Catalog is already available online, and at the museum store as well. I took a look through it, and there is a whole lot of additional content not found in the NY MOMA Catalog.]
Well I was not on top of this and I am really grateful for that bit of information.
Wednesday, July 07, 2010
Do not miss today:
- The Mysterious Mouse, Cont'd by Michael Barrier
- The Ryman Centennial: Walt’s Elephants by Michael Crawford
- The Ryman Centennial: The Occidental Tourist by Michael Crawford
- The Ryman Centennial: Working With Herb by Michael Crawford
- The Ryman Centennial: Herb And El Grupo by Michael Crawford
- The Ryman Centennial: In The Beginning… by Michael Crawford
Among other things, "with his mixed abilities as a naturalist and film maker, Jack joined Walt Disney Studios as a cameraman on the early True Life Adventures. He worked at Disney for more than ten years in a variety of functions--writer, director, producer, cameraman--and participated there in the making of more than two dozen movies."
Do not miss today:
- Disney Imagineer Tony Baxter: The Importance of Being Twelve by Dave Parfitt
- The Disneyland 1953 Sales Pitch by Wade Sampson
- VINTAGE EUROPEAN PINOCCHIO POSTERS by Kaya Özkaracalar
Tuesday, July 06, 2010
[Have you seen this ”first interview” with Mickey Mouse from 1930 ? Maybe something for “Walt’s People/Mice" :-)]
Sunday, July 04, 2010
"The company Palés S.L. was established in the early '30s in a small city close to Valencia called Manises by a man called Eduardo Palés. The factory was built at Calle Valencia, 29. It originally produced sanitary materials but in the late '60s the market for those types of products collapsed and the company started focusing on producing cermaic figurines. Around 1969 it acquired a Disney license and from that year until 1984 produced Disney figurines in ceramics meant to be exported to Venezuela, Puerto Rico, UK, Canada, Japan and the U.S. The company closed in the late '80s."
- Betty Kimball, R.I.P. by Amid Amidi
- A Revolutionary Story by Jim Fanning
- The female artists & animators who changed Disney Studio’s “boys will be boys” culture by Floyd Norman
- Ilene Woods dies at 81; voice of Disney's Cinderella
Friday, July 02, 2010
According to The Carl Barks Fan Club, Kerby Confer's extensive collection of Carl Barks Disney Duck oil paintings will be auctioned by Heritage of Dallas, Texas on August 5-7.
This just released book is unlikely to be very interesting based on J.P. Telotte's past two Disney-related efforts but I still thought it might be worth mentioning its existence on the blog.
Thursday, July 01, 2010
[TRUMP magazine from January 1957 was published by Hugh "Playboy" Hefner in an attempt to do a slick humor magazine like MAD with Harvey Kurtzman as editor. In the first issue, famed comic artist Wally Wood did a parody of what a Walt Disney animated feature of Hansel and Gretel would look like. To make it even more realistic, Wood painted the artwork on animation cels. Here is a link to that three page story.]
Do not miss today:
- Walt Disney's "Forgotten" TV Classic by Jim Fanning (outstanding article)
- Cinderella's Golden Carrousel by Jim Korkis
- The Disney World - October - November 1965 on Vintage Disneyland Tickets