Moving On

Greetings everyone.

This blog is moving on to: HERE

I'm still trying to figure out Wordpress (and other things).

Please update your bookmarks and keep reading.

Thanks!

Break

Blog posting will be temporarily suspended for a while in order to get certain matters in order.

Many thanks.

Pan Test

Here's another quick test for the Ottawa Signal Films.

Trying to do a background pan, this test was put together in about 20 minutes -just to see what it would take to do properly.

After this test, I'm going to figure it needs about three hours to do it properly.  A different lens would be good too, but that's not happening.

The Top Cel Volume 2, #16; 12/1/45 - Strike Over, War Over

Labor Answers the GI courtesy Colliers

War Labor Board Decides In Our Favor


1) Union Shop Clause: The Union Shop clause contained in the 1944 contract between the parties shall be incorporated in their 1945 agreement.

2) Duration of the Contract: The term of the contract between the parties shall be for a period of one year from the date of expiration of the otherwise agree.

3) Severance Pay:  The parties' agreement with reference to the issue of severance pay shall be incorporated into the parties' agreement.

4) "Most Favored Company" Clause: The request of the Company that this Board recommend that the 'most favored company' clause be retained in the 1945 contract between the parties is hereby denied.

5) Wages: a) The request of the Union that this Board recommend its proposed rate ranges is hereby denied.

b) The parties shall adopt the following rates for the classifications listed below [enlarge chart on image].

The parties shall negotiate rates for the remaining classifications in relation to the above key rates recommended.

6) Retroactivity: Adjustments resulting from the provisions of the recommendation shall be affective as of March 14, 1945, the expiration date of the prior contract, unless the parties have agreed upon another retroactive date."

 Our Union


At our last general membership meeting the membership accepted an Executive Board recommendation on veterans initiation fees and dues as follows:

1) All returning veterans with experience in the industry may join the union for $5.00 intiation fe and pay no dues for three months provided he or she joins within one month after being employed;

2) All veterans with no experience will be allowed to join for $5 initiation fee after working for six months on a Work Permit;

3) Members in the service will get three months free dues.

Some members have asked for a clarification of the rules on fines for non-attendance at meetings.  Excuses are needed only for the third meeting misses and not for the first or second, because the fine is only levied after the third consecutive meeting is missed.

Many members have failed to apply in writing for a Withdrawal Card when leaving their job at a studio. Unless request is made in writing, a member faces suspension for failure to pay dues.

Speaking of suspensions, we would like to call the attention of those few members who have been suspended because they fell three months behind in dues to section 159, 160, etc. of the Brotherhood constitution.  Such members will note there that it will be very expensive in the long run to fall far behind in dues payments if they want to be able to work in the industry in any studio under the jurisdiction of the Brotherhood, as they all are.

Know Our Rights


WE HAVE THE RIGHT TO STRIKE, let's use it sparingly and wisely.  Under the Smith-Connaly Act, Congress legalized strike provided the membership of the striking union votes for the strike in an election held by the NLRB.  It is labor's strongest weapon, the Sunday punch that rarely ever fails if properly timed and organized.

But it is a very costly weapon to the employer, the union, and the country and so should be used only after all other means have been exhausted.  The scarcity of strikes throughout the war (1/10th of 1% MAN HOURS WORKED) and even today, despite anti-labor propaganda to the contrary, indicates how reluctant unions are to use such a devastating weapon.

In reality, however, the strike, so viciously attacked by the commercial press, is nothing more than the same economic action every businessman takes.  If we do not want to pay the price our grocer, butcher, landlord or auto dealer asks, he will not sell us his wares.  Today, real state men and manufacturers generally are on strike refusing to produce until they get higher prices, or lower taxes -and it is considered good business.  A strike by labor is exactly the same -a refusal to sell labor unless certain terms are met, certain principles upheld or higher wages granted.

The strike is a legitimate economic weapon.  We have the right to strike, let's use it wisely and sparingly.

Trade News


Selections by "Box Office" Magazine

THE TEN BEST SERIES


March of Time (20th Fox)
This is America (RKO)
Bugs Bunny Specials (WB)
Disney Cartoons (RKO)
George Pal Puppetoons (Paramount)
Terry-Toons (20th Fox)
Featurette (WB)
MGM Cartoons (MGM)
Speaking of Animals (Para)
Passing Parade (MGM)

THE TEN BEST SHORTS


Teen-Age Girls (March of Time)
Bombalera (Musical Parade) Para
Coney Island Honeymoon (Warners)
Californy 'Er But (Disney's)
The Shooting of Dan McGood (MGM Cartoon)
New Americans (This is America)
Herr Meets Hare (Bugs Bunny)
In A Musical Way (Speaking of Animals)
Jasper's Paradise (George Pal)
A Lady Fight Back (Passing Parade)

"Hollywood Merry-Go-Round" new comic strip based upon authentic Hollywood backgrounds and actors, will be distributed nationally on Nov. 26 by McNaught Syndicate.  Renny McEvoy is writing the strip with Jim Pabian doing the art work.

Tony Standorf, veteran radio producer, checked in at Disney Studio to conduct a six week survey of talent and character suitable for radio and television.  Los Angeles may soon see Disney's product on the air, if company receives approval of its application for a television permit and begins experimenting locally.  There is speculation as to what sort of programs the proposed station would run if the FCC sets a minimum of six hours telecasting a day.  To provide cartoon films from the one studio for that amount of time would soon empty Disney vaults.

NEGOTIATIONS ON NEW WAGE SCALE FOR CAMERAMEN AT DISNEY IS NOW UNDER WAY.  LENSERS ARE SEEKING A TILT OF APPROXIMATELY 30%.  BONAR DYER IS APPEARING FOR DISNEY WITH B.A. HERB ALLER REPRESENTING UNION.

Payoff in film strike settlement will cost studios more than $6,000,000, it was estimated by one major company executive according to Daily Variety.  It was pointed out that severance pay for some 3,000 scabs with the possibility hundreds of these men will 'return to their former classifications and receive double pay.'  It was explained these figure don not take into consideration the extra guards employed during the eight month strike, lost production time, etc., which may boost the total cost of the settlement nearer $10,000,000.

George Pal will combine live action with his Puppetoons after first of year.  For take-off in new field, he has inked Louis Armstrong and his band for one of his "Jasper" character series.  He is also preparing a traveling display for exploitation of his series.  After being exhibited at Harvard University the display will be presented in department stores throughout the country.

CIO's Answer


"It takes no special acumen to sense a rising hostility among servicemen and veterans against labor unions," says Albert Deutsch, "thanks largely to highly distorted and and magnified reports of the current strike situation in anti-labor newspapers."  The CIO has just published a timely pamphlet, "The CIO and the Veteran", which presents convincingly the other side of the story:

Eighty-five per cent of the Nation's war materials were union made.  The CIO like the rest of labor, pledged no strikes for the duration.  There were some wildcat strikes, but the 7,400,000 man-days lost by  CIO strikes in all industries (including non-war) from Pearl Harbor through 1944 amounted to three-hundreths of 1 per cent of total working time. Industrial accidents resulted in 108 times more man days lost than all CIO strikes put together.


In spite of all the fancy talk, the US Labor Statistics Bureau estimated  that the family with two children was only $2.30 ahead in real money every week after paying for taxes, war bonds, and the higher cost of living.  What wage gains were made by organized labor's efforts helped sustain the returning serviceman's living standard when he takes his place on the production lines.

Flippings


A little atom bomb hit George and Becky Ottino in the form of brand new twins.  They were born Nov. 10th at the Englewood Hospital in NJ.

Carlo Cucinotto's wife had a baby boy.  His name: Matthew.

"Pink and Blue Laughter", Paul Fitzpatrick book, made a hit at Famous.  Buy one, is good!

Latest additions to the Famous Studio payroll:  Thomas Ford, Lenore Gugenplan, Ann Nicolotti, Joan Saracino, Marion Aten, Rose Marie Rossi, and Viola Monfrede.

Phyllis Monnot working at Willard.

Joe Deneroff in the hospital.  We hope to see him well soon.

Saul Kessler's en route home.

Elva Jump is literally a jump ahead of us.  She's learning to fly a Piper Cub and doing well too.

Beatrice Sertner took a month's leave of absence, her wedding took place November 22, Thanksgiving.  The lucky fellow?  Sgt. Norman Pellman.

Speaking of marriages and such.  Phyllis Shagrin Needle  is in Florida in her honeymoon.

Birthday greetings to Bob Little, Rosalie Socolov, and Bernice Steinberg.

Nancy Lee Jones left Terry's to be married.

Bob Little, former head of the Background Department at Famous left for Miami, Fla.  We are sorry to see him go.

Bob Wickersham left Gems to do strips fro Davis.  We just heard that Warners RAISED several assistants to 75 bucks and gave a flock animators a 25 dollar raise.  (We love these RUMORS.)

The Duffy Bag


Stan Green and Myron Waldman the newest veterans to start a Famous. At Terry the additions are Rocco Eletto, John Vita and Walter Gleeson.

Don Roman out of his Marine uniform and in California.

Wilber Streech just came back from LA.

Dave Hilberman transferred to the West Coast.

C. L. Hartman a civilian already, also  Dave Rose.

Johnny Harbough already working at Disney's.

Jim Logan in his way home.

Jack Mercer was discharged from the army.

Irving Dressler, formerly with the army in India now back at Famous.

Martin Provensen, Louis Schmitt, Sam Spohn, Scotty Witaker and Don Tobin getting out of the Navy.  Alex Lovy and John Carey are out already.

Captain Fahringerm of the Culver City Unit, reenlisted.

Carmen Elleto in his way home.

John Baldwin, a Sgt. now, in Gushkara, India.

Bob Summa, once a tracer at Terry's, not only got his discharge, but also a wife.  Maybe we'll be seeing him after his honeymoon.

Latest releases from Culver City, John Hubley, Herb Rothwill, Bob Givens, Frank Onaitis, Jero Fabry.

Bill Schipek back at his desk at Metro.

Paratrooper Catp. Paul Fanning, now a civilian and home in New York.

Marine Bill Perez writes from Tsingtao, China, promising us some drawings.

John Barron left to get his discharge, and at the same time, Lou Guarnier, Murray Fairbairn, Herman Cohen, Melvin Grau, Chuck McKimson, Bob Janess, Lloyd White, etc.

Gene Fleury at the Signal Corp in NY.  Also in New York Ray Harryhausen.


Hollywood Strike


October 24 1945, will be remembered in Hollywood labor history as the V-Day on which the plain people of Hollywood backed by friends everywhere finally smashed the most concerted effort in recent years to destroy all the gains labor made.

We do not want to congratulate any one leader or even the Strike Strategy Committee for the remarkable job they did and for the service they rendered to the labor movement and the nation as a whole.  We do want to congratulate plain John Doe who, to the surprise of the self-satisfied producers and newspaper publishers, saw clearly, as he so frequently does, through the smoke-screen of lies and propaganda that was thrown up to becloud the issue.

It was thrilling and encouraging to see the John Does all over the US rise up and help fight a principle, just as the Indonesians and Spanish Republican are doing.  We are proud to have been part of that cause.  It was a privilege to have been able to contribute a little to the fight waged by our brother cartoonists in Hollywood.  While we hope that there will be no need for fighting such a bitter battle again, we are sure that if the need does arise we will once again stand side by side and perhaps the next time we will be able to help much more.

Why A Union


Fundamentally, a union is simply a device for raising the individual employee to a somewhat more comparable bargaining level in relation to his economically superior employer.

Can we visualize any single employee to a somewhat more comparable bargaining level in relation to his economically superior employer.

Can we visualize any single employee, without a union, striding boldly into Mr. Terry's or Mr. Buchwald's office, for example, and demanding an increase in pay from $15 to $26?

But, those same individual employees, when standing together as a union, can get all of those things and more, as we did thru our union last year and can continue to do in the future if we broaden our understanding of the immense power we have as a union and learn to use it.

Act Now


The urgency of the international situation cannot be emphasized enough.  Walter Winchell's recent quip "short peace, wasn't it" is unfortunately more than a quip and unless we all act now it will be a very short peace.  The United States, more powerful than all the world combined, has it in its power to make the United Nations Organization work.   If we destroy UNO as we destroyed the League in 1919 a terrible atomic war is inevitable only a few years hence, and unless we act immediately our leaders will have killed UNO before it starts.

It is fashionable to ran against Russia for seeking power in Poland and the Balkans by supporting governments there friendly to Russia, which governments, incidentally, FOUGHT IN OUR SIDE DURING THE WAR.

We tend to ignore the fact that the USA championed fascist Agentina into the UNO and still sends oil and food to Franco Spain while feebly complaining about Franco's support of Hitler's Germany. We innocently ask the English not to kill Indonesian democrats with American lend-lease weapons until the America labels are removed.  Our leaders make speeches about not interfering in the Chinese Civil War and then give thousands of American planes to Chaing, have American Marines land Chaing's forces behind Communist lines and bring men and material to the front.  And we have the gall to threaten the Chinese Communists for shooting at American Marines.  Of course, we shouldn't mention the land we've taken in the Pacific for "military reasons".

Video: R. O. and R.

Michael Sporn and others have posted a link to an interview with my great teacher, R. O. Blechman, on the Comics Journal.

Somehow or another reading that combined with whatever other web browsing I've been up to connected me to this series of videos from the Strand with Bob and the lovely and talented R. Sikoryak.



I was there, but I'm an old man, so things like this a good reminders of what I once know.



At the beginning of this video he says "it was only about a year ago I became acquainted with [Harvey Kurtzman's] stuff". He told me the same story about ten years before. I suspect by the early 1970s R. O. had already filed away the work of every illustrator in world history and has used the following years to appreciate them all and add to the list.



This also starts with a great story about doing covers for Story magazine -an important lesson for how to be happy with your work.



Questions.



Anyone who's interested in illustration, especially students should pay close attention to this talk.

Some Help? - Repost

We've gotten some great submissions for this, and as the other segments are barreling along we'd love to add your contribution!


As previously mentioned, we're doing the signal films for this year's Ottawa Animation Festival.

Like most of our projects we're making it both simpler and far more complicated than it needs to be. 
There will be several episodes.

In one, we're going to do that face thing, in three parts, flipping.  From the kid's books.  I have no idea what it's called.

Jim Blashfield

Part of the reason for posting every day is to keep sharp, no matter how dull the material (or authoship) may be.

Study of other figures in the field is an important part of whittling down to pointy animation skills.   Coming from that tack, I'm going to start a regular feature of little write ups about interesting artists.

Last year I was asked to write the program notes for the Jim Blashfield retrospective at the Ottawa Animation Festival. 

Having written a few of these pieces, I felt the need to pose a little challenge to myself.  I wouldn't contact the artist, I wouldn't interview anyone.  I watch his films and look at his artwork.  Chris Robinson sent me a questionnaire the artist answered with all the "facts" and some good anecdotes.   That was all I used.

I'm happy with how that article turned out (and with little modesty think it was the highlight of last year's Festival Reader), but I'm more happy about the time I got to spend with Jim Blashfield's films.

Like many still artists who move into animation, his primary technique is cut out/under camera manipulation.  This is the look we're familiar with from his classic music videos.



The cut-out technique, though, is very sophisticated and uses an awful lot of images. So it's similar to rotoscopy in many ways.



Most interesting are the installations the artist has been creating for the past several years.



Animation is used as a means of expressing ideas -narrative or purely visual or just visceral. That's why they capitalize the "A" in Art.

Events

Last weekend the Museum of the Moving Image in Queens hosted several screenings and signings with the talented and hard working Bill Plympton.

Saturday and Sunday, 6/4 and 6/5, they'll be presenting the remarkable Fantastic Mr. Fox.

Earlier this year that same institutional showed Martha Colburn's latest installation.

Martha will be given a program at 8 PM on Saturday at Anthology Film Archives.

This will include live accompaniment of piano and percussion and more.  The percussionist also plays with the neo-skiffle combo "Deerhoof" who, I understand, the kids like.

And if moving pictures are too much for you (and who can blame you, not me, for sure) - R. Sikoryak will bring his oft-imitated, inimitable Carousel to The Brick Theater in Brooklyn at 9 PM on Saturday.

This appears to be part of something called "The Comic Book Theater Festival".  The website doesn't give a direct html link to the page but it's an easy click from their home page.

And tonight (with rebroadcasts this week) PBS' Need To Know will air our "Ant and Grasshopper" film we made with Roz Chast for the second time.

Check local listings!

Rule Change

Even if you don't care much about awards, the Academy of Motion Pictures Arts and Sciences' clarification of animation eligibility is interesting.

image from HERE

The first is simple and obvious:

In the Animated Feature Film category, the rule governing running time for a motion picture to qualify was changed from at least 70 minutes to greater than 40 minutes, which is consistent with the running time requirements for feature films in all other categories.

This will affect two things.

First, it will make more films eligible for the nomination, thereby making it almost certain to have 5 nominees over the usual 3.   The two additional slots will allow for films which might otherwise get overlooked to benefit from the publicity of the nomination.

The Oscar nomination helped "Secret of Kells" box office in the US, and it only stands to reason that other smaller films would get a boost as well.  "My Dog Tulip" or "Idiots and Angels" were both worthy contenders that got the short shrift by the short list.

Second, it weighs in favor of independent films.  Dreamworks, Disney and the other big studios will  be releasing at least one 85 minute animated film every year.  They don't even consider any under 70 minutes.  Independent animators -40 minutes -that's a feasible  accomplishment. 

The other significant change regards motion capture:

An animated feature film is defined as a motion picture...in which movement and characters’ performances are created using a frame-by-frame technique. Motion capture by itself is not an animation technique. In addition, a significant number of the major characters must be animated, and animation must figure in no less than 75 percent of the picture’s running time.

This is a statement of the obvious, in my opinion, and I'm glad someone with credentials has put this on the record.

It's not a value judgment on motion capture, but a clarification of what should be a widely known Funk & Wagnall's definition of animation.

The disqualification of a Robert Zemekis film or two will be more than offset by the newly eligible shorter feature.

It Takes A Village

After being put on the back-burner for a while, picking up on this segment for the Ottawa Signal Film.

It'll be the third in the arc.

The cityscape will largely exist as backgrounds only.

And most of the backgrounds will need much larger scale objects.

I suppose I just wanted to build a city of paper.

The roads will be affixed to the ground, so we won't have rising surfaces.

But the buildings will still be fairly raw as they are here.

The Top Cel Volume 2, #15; 11/2/45 -Animators Are Not Machines

Animation Unit in India

Back Row: Neil Sessa, William Cookrish, W. O. Field, Joseph Magro, Harold Goddard.

Front Row: Nat Friedland, Reah Ehret, Carmen Eletto.

OUR UNION. Notice to new workers.

It has come to the attention of the Executive Board that new workers are not filing their application for membership and not paying their dues.

For their information we would like to mention that according to our rules if the worker is hired before the 15th of the month he or she has to pay the current month.  If hired after the 15th, his or her dues don't start until the following month.  Dues for Work Permit people are the same as the regular members.  We would appreciate if you would contact your steward for this and any other information you desire to ask

Stewards at Famous:  Paint: Doris Zvirin and Beulah Kirschner; Inking: Alice Rehberg; Inbetweening: Shirley Knoring; Animation: Hal Robbins and Joe Deneroff; Story: Izzy Klein; Camera: Leonard McCormick.

TRADE NEWS

According to Oscar A. Morgan, short subjects sales manager at Paramount (distributors of Famous cartoons, you know!)  an all time record was established by Paramount short subjects during the five-week On Third of a Century celebration.  He said that figures disclosed a rental record that surpassed any previous accomplishment on Paramount shorts in the history of the company.

Under the sponsorship of the CIO Research and Educational Department a colored slide film on the guaranteed annual wage is being made by United Film Productions.  Under way by United at present also, is another animated film under UAW sponsorship based on the pamphlet Races of Mankind.

George Pal contracted to make a picture for Shell Oil Company, the first of a series of films on the oil industry.  Film will reveal the geological phases preceding the drilling of a well.

As a sequel to "Peace on Earth" MGM will make, when the strike is over, "The Truce Huts" a post-war story staring Tom and Jerry.  It is aimed at setting an example for world peace, Hanna-Barbera directing.

Samuel Goldwyn has organized a new producing company and will turn over all his film assets -contracts, stories, studio property, etc. - to it for coownership with employees.  The new company is capitalized at $10,000,000.  Goldwyn will retain 50% ownership.  He is chairman of the board.

MAX LERNER ON STRIKES

"How many tie have you seen in the American papers a serious effort to analyze the profits General Motors and Ford and the oil companies, and their capacity to give their workers a take-home pay somewhat adequate to living costs?  How many times have you seen a serious discussion of Walter Reuther's impressive figures about the relation between profits, wages, hours, and living costs?  How many times have you seen a newspaper commentator give the trade unions a break by examining what a steep drop in take-home pay envelops would meant to the American economy as a whole, and how it would affect the question of prosperity and ultimate full employment for the Nations as a whole?

"What the trade-unionists are saying, in effect, is this: 'If free enterprise is to mean prosperity, as you corporation heads and your spokesmen in the press say it does, then we want a share of that prosperity.  But if all you mean by free enterprise is the freedom of the corporations to get high profits from tax cuts, regardless of full employment, and without giving us the freedom to get some security, then it isn't our dish.  National prosperity cannot be built on low wages and workers' insecurity.  We don't want to use the strike except as a way of getting that security.  But if you deny us security and decency, then our only recourse is to show that we too have some power in a free society."

COMIC BOOKS

Well over a year we approached the west coast requesting their cooperation regarding minimum prices for comic book work.

The publishers certainly should be grateful to one Jim Davis who started the racket and who, consciously or not, has kept the prices in Los Angeles  much lower than in New York where they are already low enough.

Since all the artists working out there are members of Local 852, we would like to set up, in conjunction with our local here, a minimum for that type of work, specially now that the strike is over.  Out here we are at a disadvantage as no one knows how many freelance artists there are, but at least we would know that our own brothers in the west coast don't take our work for less money.  Now at least three publishers have to work done in L. A.

FLIPPINGS

Jack Willis refused to be moved out of Jim Tyer's room and consequently had to be "Sewell -Averyed" out.  Such fun!

Joan Bassi and her Lt. husband are back from their honeymoon.

Speaking of honeymoons Marvin Cristenfeld is in Cuba... you can guess the rest (Editors note: That's what I had to do.)

Our apologies to Frank Bacher who is leaving Famous.  His name was omitted last issue.  Shane Miller also leaving after he finishes the backgrounds for his "Raggedy Ann" picture.

Phyllis Shagrin was married last October 28th so the gals a Terry's gave her a supper at Schaffts.

Top Cel wants to thank Pete Caldera of Smith's for designing our masthead.

More animators leaving Famous: Al Rose, John Walworth, Ben Solomon. The score: seven!

The much publicized Johnny Vita visited Terry's recently.  He has been discharged from the Army.

Evelyn Klein the new steward at Smith's.  From the same studio we were sorry to see leaving Mr. Smith's secretary, Jean Drexler.

Woody Gelman and Larry Reilly are now permanent members of the Story Department at Famous.

Mr. Donald McKee dies very suddenly of a heart attack.  We extend our deepest sympathy to Mrs. McKee and Bob, our first president.

Julia Costa and Elaine Ryder both left Famous to get married.  Lucky girls!

Vince Eletto has returned from the Air Corp Unit on the west coast to work at Terry's.

Phil Di Paola and Lucy Violante no longer with Famous.  Good luck!

New at that plant:  Lila Salmi, Helen Stricker, Ruricko Hatakeda, and Joan Saracino.

Beatrice Sertner planning to get married in November and Dotty Unger in March.

Eliva Jump is the new assistant for Anne in the research department.

Doris Ortelli on a 3 week leave to get married. The girls in inking gave her a shower.

Fay Nadel is leaving Famous.  Reason?  Her husband is home from overseas.

Bill Littlejohn is the father of a baby girl.

STRIKES AREN't VOTED FOR THE FUN OF IT

Every day the newspapers publish what they call a "strike roundup", telling briefly of strikes throughout the nation.  Each such story tells the total number of workers on strike on that particular day (the figure is usually a rough guess).

But have you noticed that these strike roundup stories are usually careful to avoid mentioning WHY the workers are striking?  There is usually no mention of the grievances employers have refused to settle; no mention of broken agreements, no mention of all the other reasons workers strike.

ANY WORKER KNOWS WEEL HE DOESN'T VOTE TO STRIKE UNLESS HE HAS A REASON -A GOOD REASON.  AND ANY WORKER KNOWS THAT BEHIND EACH STRIKE OCCURRING TODAY IS A STORY OF AN EMPLOYER PROVOKING THAT STRIKE.

Another truth concealed by "strike roundup" stories is the fact that so few workers are actually on strike. For instance, a story headlined "100,000 ON STRIKE" would be a darned sight more accurate if the headline read instead: "50,000,000 WORKING; 100,000 ON STRIKE".

DIRTY POOL

Navy personnel discharged in the nation's capital have been fed a phony.  They have been told by Navy officers who should know better that they can't have their gold honorable discharge "because of the strikes".

At the separation center, PM found two Navy officers who admitted they had been passing on this anti-labor lie.  They said they thought it was true.  They said they had been "informed that the company that makes the buttons is out on strike."  They didn't remember who "informed" them.

The Navy Press Bureau had the fact straight.  The Navy, they explained, gets its buttons from the Army. The Army is short of supply due to stepped up demobilization and won't increase the Navy' quota.  More buttons are being made now by the Navy at the Philadelphia Mint.

"There is absolutely no truth to the story that strikes have anything to do with it," said the Bureau.

WHY A UNION

Simple as it is, union men found out that by grouping themselves they were breaking one of the oldest tricks of "divide and conquer."  We still have employers that practice such tactics more or less successfully, although most workers are wise to the ruse, some still believe they can make "a deal".  Those fellows are secretive about their salaries (what they consider of most importance) without realizing that separately no one can tack a single, central power, the boss.  In a union, men pool their information. Honest men explain the lines given, so others don't fall for the same.  In other words, WORK TOGETHER.  The union, and only the union should be the instrument of contact with the employer.  We know by now that the paternalistic boss is good only to himself and his business not us!

FROM A SERVICE MAN

Jack Baldwin in Gushkara, India: "One of the duties here is to record the news as it is dictated by the Army new Service from Hawaii.  I may be oversensitive but it seems to me that the labor disputes are being over-played.  Away back before V-E they would report that a few hundred milkmen were on strike in Podunk.  It wasn't very newsworthy and I am sure that bigger news was in the making at the time.  There was never a daily report that landlords were trying to get around rent controls or that the N.A.M. was planning a post war campaign to beat the taxes and the unions.  Today the news is overflowing with "Union Demands," "Workers Revolt," "Strike Cause Stoppages," etc. etc. etc.  There are the phrases which stick in the GI's mind and don't think it isn't effective.  Yesterday a typical GI reading the bulletin board put his finger on an item about the CIO demanding a 30% wage increase for auto workers and said bitterly "The bastards, the dirty bastards." He is not to blame... the issues weren't explained.  I blame the Army News Service.  Perhaps they will blame INS, AP and other news sources.  The whole thing is very vicious."

QUALITY VS. QUANTITY

The old adage about 'having your cake and eating it too' was disproved, for the base canard it was, a long, long time ago.  It is today too a physical as well as biological impossibility.

A person, regardless of his occupation, is expected to know his own job thoroughly.  If he knows his neighbor's job too, so much the better, although it is not expected of him.  Nor will his knowledge be rewarded by any additional green stuff in his weekly pay envelope.  All that is expected of him is an honest days work well done.

We all know what the so called 'efficiency experts' are, and in what direction their particular talents lie.    As applied to the animation business, they seem to be entirely unnecessary.

Man has made machines and is undoubtably their master.  Efficiency experts can make adjustments causing them to either speed up or slow down as the situation might require.

Animators. assistants and etc, on the other hand, are not machines in spite of any thoughts our opinions to the contrary.  They cannot be speeded up without a resultant drop in efficiency and quality.  There is no denying that some animators in the business might increase his animation footage.  We concede that.

We do not believe, however, that the extra foot or two each week is worth the out-of-proportion difference in quality.  In a highly competitive business such as ours, we do not consider that sacrifice a wise one.

No, we can't 'burn a candle at both ends.'  Neither can we 'have our cake and eat it too.'

THE DUFFY BAG

Nick Poppa George, Ted Berman, Ed Levitte and Carl Fallberg are civilians now.  Nick is planning to work for Tom Codricks outfit and Fallberg is doing it already.  Berman is back at Disney.

Marine Glenn Couch promoted to S/Sgt.

Lt. Tom Goodson a proud father of a baby girl.

Leo Ellis in a hospital in Long Island.

Cpl Perry Rosove visiting NY Again?

George Baker getting out of the army.

Capt. Bill McIntyre now in Japan.

Russell Baldwin passing through New York.  We are sorry we were unable to see him.

Morris Gollub  out of the service and in New Rochelle with Dan Noonan. (40 Prospect Street)

Capt Bill Tilton from the Philippines and in his way home.

A. Keitel, C. Glenar and R. Stokes leaving the Anacostia group very soon.  Paul Fennell is already out, his place as head of the Unit being taken by Johnny Burks.

Charles Byrne from Anacostia in Screen Gems and Henry Bender in charge of personnel.

Ex-service men that just started to work at Famous: Al Eugster, Tom Johnson, G. Germanetti.

Zeke de Grasse out of the service and in Hollywood.

The Air Corp assigned Lt. George Giroux to his home, so he went and got married.

FOR SERVICE MEN ONLY

If you are anticipating a discharge from the service and aren't planning to return to the industry, please let us know.  Unless we keep contact, we will be unable to determine your status in the union.  We recommend that you write either East or West Coast locals as soon as possible after you are separated from the service.

Whether you are still in uniform or not, please keep us informed of your whereabouts.  We want to keep you informed of what is going on in the industry.  Our files are in bad shape since V-J Day when many of you stopped communicating with us.  Cooperation is more important now than ever.

STRONG RECOMMENDATION

We have always felt that the veterans needed an organization to represent their interests; to give them a voice in the world they fought to preserve.  Selfish interests took control of the larger veterans groups long ago.  Their views are now merely the views of big business.  A soldier from India sent us one of the bulletins published by the AMERICAN VETERANS COMMITTEE, the only veterans organization invited to San Francisco to witness the attempt to establish a lasting peace.  Our attorney and business agent have both investigated this organization and recommend it highly.

Lack of space prevents us from going into the matter more thoroughly.  The program of the A. V. C. include adequate financial, medical, vocational and educational assistance  for every veteran under a system of free private enterprise in which business, labor, agriculture and government work together to provide full employment for the nation.

We suggest you to write them for information.  Dues are $2 per year for those still in the service and $3 for veterans.  The address: American Veterans Committee, 554 Madison Ave., New York 22, NY.

KNOW YOU RIGHTS

As a group of men and woman, and not having in our by-laws or constitution any limitation as to our activities (as long as it is not subversive and in conformance with the law of the nation) our union can take any direction the members wish.  We could form groups such as sewing circles or political clubs.  Different times we heard members saying: "We are a union we cannot do that" etc, implying, without knowing, that we should worry only on financial gains or working conditions.  It is your right to direct our activities to any direction that would benefit you or the majority.  This is why the new trend in labor is political (something that horrifies the Ryans and the Walshes) as politics is extremely close to our daily lives.

BETTER YOURSELF BY NOT LIMITING YOURSELF.

Fraidy Cats

Tending to cats, recently.

Murray the Cat is hanging in, although he was diagnosis terminal a few months back.

This is a little film we did several years back for a pilot that never went into series.

Animation is by Doug Compton.

Adventure

No figure today in animation demands a documentary treatment more than Bill Plympton.

It could be argued that he's the most the important single figure in the past 25 years (moreso than Lassiter, Keane or MacFarlane) -the previous 25 belonging to Bakshi, the 25 prior Hubley, Walt Disney before him all the way back to Winsor McCay.

Adventures in Plymptoons had it's sneak premiere at the Museum of Moving Image yesterday before it's grand unveiling in Annecy next week.  There's plenty of material within the film to support the idea that the Plympton story needs to be told.

Beyond the technical issues -like it or not, fuzzy mattes and noisy audio which may be acceptable in an issue documentary become an issue in documentary about film -the serious flaw was hinted in director Alexia Anastasio's introduction.

She recounted a funny story about trying to "get" Kanye West for the film.  His appearance was foiled after his infamous Grammy Awards episode sent him to a self-imposed media exile.  Sure the pop star worked with the animator on a music video, but really, who cares?  What sort of insight could he offer on the man or the work?

There lies the fatal flaw in Adventures in Plymptoons, the viewer is treated to an constant stream of interviewees who seem chosen for some sort of celebrity appeal with few offering more than a line or two of hagiography.    Most stories are enjoyable -"Weird" Al Yankovic, for instance, is a personable and funny as you'd expect- but the cumulative effect is a white noise of talking heads.  Voices who might have otherwise broadened the scope of the film -Signe Baumane who senses a touch of misogyny in one particular scene, Ron Diamond on Bill's relationship to the commercial world -are given equal or less time than a voice actor who had maybe three hours interaction with the subject.

The talking head format fights the contrapuntal "quirky" approach.  Some of these segments are surprisingly rewarding -Bill Plympton serenading Troma's Lloyd Kaufman with "The Nose Hair Song" is one particular highlight.

Casual fans will likely enjoy some of the anecdotes (many are also recounting the excellent Independently Animated).  The uninitiated will see some great work though they might not fully understand why Bill Plympton is such a big deal.  Those looking for something more might be a little disappointed.

Guilty

of harboring delicious sugary treats

Another One

Here's another guy Liesje made for that commercial pitch.

He's a pretty good character, so maybe he'll get put to use somewhere.

Presentation Pieces

We were asked to bid a project recently which involved coming up with design and narrative solutions within a budget.

We came up with a few looks.

The above characters were made by David Fremont, we came up with loads more as illustration and some more in clay.

This is by Liesje Kraai.

It's been a couple weeks and we've heard nary a peep.

C'est la vie!

Zoomzoom

A little preoccupied these days.

But still thinking of you.

The Top Cel - Vol 2, #14 - 10/12/45 - New York Rates Below Standard

Dick McDermott worked at Disney's, Screen Gems and the U. S. Marine Corps in the latter as a "combat artist" which consisted at times of "combat" but practically never "artist".

OUR UNION


TOP CEL is most happy to welcome into the publishing field Famous Studios.  We certainly don't mind the competition.  As a matter of fact in some ways we are indeed happy about the appearance of "Bottom Cel".  Since we have gone on record many times in the past through TOP CEL with statements concerning policy, these same being available to any and all interested parties, we feel that from this new competition we may expect some reciprocal statements.

Inasmuch as our union is against any speed up system, no matter what fancy name is given, (bonus, incentive plans or other compensation), Famous decided to give one of the three aforementioned plans to several girls in their respective departments for the best performance that week.  Nothing is official.  You simply find a couple extra bucks in your check at the end of the week.  Of course, no one is supposed to know anything about it, specially the union.

The Executive Board has passed a recommendation to the General Membership that any extra money received should be reported to the union and returned to the employer.

The same employer has decided at this time, during negotiations, to give raises, which, as his own attorney pointed out, is considered unfair labor practice under the Wagner Act.

The Executive Board has informed Famous Studios that giving raises or bonuses during negotiations is considered unfair labor practice by the union.

Our Business Agent informed Fletcher Smith last week that one of his employees was not in good standing in the union.  For the first time in our history an employer had to take drastic steps and drop this employee from his payroll.  It is painful having to enforce our contract, however, it is not fair for all those members that pay their monthly dues and assessments to allow others to ride along without contributing.  This employee will not be able to work anywhere in our industry as we wrote to the Hollywood Local already.

CONTRACTS SIGNED


Cartoonists in Hollywood have signed a new contract with Disney and Lantz which will up earnings of workers approximately $150,000 annually.  Biggest group to benefit is some 300 inkers and painters, who will cash in to the tune of $75,000.  Artists also will receive around $100,000 in retroactive pay.  Minimum follow [omitted from typed list, click image for details]

WHY A UNION


A union is a device to enable individual employees to organize their strength and combat evils that beset us all and to handle necessary problems that individuals cannot handle alone.  Sometimes problems arise that are bigger than mere employer-union collective bargaining, problems that are universal in scope, though vital to each of us individually.  Such are problems of unemployment, international unity, war, etc. These problems can only be handled by a union of unions.  Every employee  and every union have a stake in their outcome and all must work together.  So too with the problem of employer-union coalitions and union racketeers.  The Hollywood strike against these evils affects every one of us.  The success of gangsterism and company unionism in the movie industry will mean the same thing everywhere.  One union cannot fight the coalition of producers plus a racketeer union alone any more than one employee can fight an employer.  Unless all unions unite now against this high powered test attempt at union-busting in Hollywood, each union will have to face the same attack alone.  All employees understand this.  Your union is the device to help you make yourself felt in the fight.  Make your union take its stand now.

FLIPPINGS


Promoted to S/Sgt, Dick McDermott is now in Washington, DC.

The exodus at Famous continues.  Leaving: Frank Little, Graham Place, Rube Grossman, Otto Feuer, Joe Goteri and Bob Little.  Good luck to you all!

Opaquer Joan Bassi was married Sept. 16 in New Rochelle.  The best of everything to Joan!

Woody Gelman returned recently from a short pleasure to Quebec.  Quoting Woody: "Those French girls, whow!"

Reg Massie now a civilian.

Connie Quirk, Dolly Knickerbocker and Gloria Feriola returned once again from their inbetweens.

Norma Spalding  expects her boy friend home any day now.  And so is Fay Nadel.


Barbara Angel has joined the group of glamour girls who are opaquing for Terry.

Ann Gardner left for greener pastures.

MT Sgt Art Babbit giving us his own home as his address.

Additions to the Famous payroll: Therese Varela, Nine Irwin, Mary Vassilio and Ruriko Hatakeda.

Dotty Weber's fiance home from overseas.

Dottie Romer is to be a Navy wife about the first of this year.

Bob Little's son visited Famous a few weeks ago.

Phyllis Shagrin is to be married in  Oct.

Grandpa Pat Carbone tells us that 1st Lt. Frank and Mrs. Betty Lee Carbone announced the arrival of a 7 lb. baby boy, Ronald Francis.

Johnny Wulp visited Terry's before returning to school.

T/5 Carl R. Anderson returning from the army is going to start working at Screen Gems.

Lt. Freeman Silva still waiting for his discharge.

We all express our deepest sympathy to Connie Rasinski upon the death of his wife.

AFFILIATIONS


We can still hear the applause Pete Burniss received at a Hollywood meeting when he severely criticized the American Federation of Labor.  But we all had to weigh his words carefully when he went on to ask who we could turn to if not that organization... the Producers?

Perhaps this is a good time to remind ourselves of the reasons for our affiliation and to take stock of what we have gained from it.

When the cartoonists first began to organize at Schlesinger's, the well knit group that was formed decided to remain independent because there didn't seem to be any central organization worth joining.  This group was strangled in NLRB red tape.  A year and one half later, when MGM began to organize all over, the same question of affiliation came up.  At the moment there again seemed to be no one to affiliate with.  Most of the professional and white collar workers, such as Set Designers, Office Workers, Cartoonists, etc. were having little success in organizing.  Although many of us like the liberalism, democracy and militancy of the CIO, it was a comparatively weak organization in Hollywood where almost the entire movie industry was AFL.  And it didn't seem as though we could join that organization which in Hollywood was saturated with graft, corruption and terrorism by the Bioff coalition with the Producers.

Fortunately for us, in the midst of all this AFL's darkness, there shone one ray of light and hope, a man and a group who vigorously and unceasingly fought the graft, corruption and terrorism of the Bioff-producer coalition.  That man was Herb Sorrell.  The organization was the Brotherhood of Painters.  And, as we all know, that man and that organization are sill fighting the same forces.

The cartoonists were the first group to make the unique arrangement of affiliation with the Brotherhood of Painters and today we are proud of what we have accomplished with the help of Herb and the Brotherhood.  We have grown from a struggling one studio group to a nationwide organization that won greatly improved working and financial conditions not only in Californian but in New York as well.

There has been a rumor going the rounds that some people now want to make some changes in this affiliation.  We in New York feel that such a step should first be discussed and planned by ALL the groups concerned not just by a few animators or publicists or white collar workers and that if a decision is made, all should move as one.

None of us dispute the fact that many of the leaders of the AFL lack the courage and honesty so sorely needed today.  Everyone knows that the Hollywood strike could have been settled long ago.  But we feel that this is  no time to be thinking about affiliations.  We have a very vital stake to win first.  And as Pete Burness pointed out, if we can't depend on the AFL, who can we depend on...the Producers?

EDITORIAL


At a recent meeting, one of our officials delivered an oration almost entirely lacking in "forensic eloquence".  That lack, however, was more than overbalanced by the sincerity of belief we all felt and know must exist in that speaker's heart.

The subject was "RESPECT".

We hope that the large number of members who heard that speech were impressed.  It set us to thinking.  After turning the thought over several times we couldn't help but feel that even had the speaker not said what he did in relation to union, the thought on any other subject would have been equally worthwhile.

All of the things that little seven-lettered word implies and represents and all of the forces that can be set in motion through it could probably put an end to wars, make for a better understanding between nations themselves and lastly, but by no means least, cause people to pass through their three score and ten in a much happier and contented frame of mind.

Most of us have always had a goodly amount of respect for our employers.  Whether the reverse was true has always been to us an unanswered question.  We, of course, would like to feel that there is a certain amount of respect felt towards us by our employers.  We cannot however, be confident in that opinion so long as a man to man attitude does not exist but instead, what we might laughingly refer to as a father and son relationship.  We do not imply that no respect can exist between a father and his son. What we do hope to point out is that fact that we are not children.

The old adage that has it about "Familiarity breeding contempt" is not true.  That only happens whe the parties had a good start of not liking each other before.  We want to go right on being friendly.  But we also would like to be respected.

We are not entirely certain who should be credited with the following but we certainly think it makes a nice ending to this.  "Sir, I disagree  entirely with what you have to say, but I will defend unto death your right to say it."

There gentleman, is a pretty swell example of "RESPECT" in action.

KNOW YOUR RIGHTS


You have the right to quit your present job and take a better one.

You have the right to demand that your union find out what jobs are available, and represent you in getting them.

A properly functioning union is a clearinghouse for jobs.  Employers call the union to get artists.  Artists come to the union to find out what jobs are available.  In the past month or two, for instance, several employees have left Famous Studios and many others have inquired about jobs on the west coast and elsewhere because New York rates are BELOW STANDARD in the industry.  At present your union has made contact with a New York studio in of artists.  YOU HAVE THE RIGHT TO USE YOUR UNION AS A CLEARING HOUSE FOR JOBS. DON'T HESITATE TO USE IT.

Tale of Two Compressions

Jeff Twiller's latest shenanigan.

Slushing Brooks - VCR Repair from Slushing Brooks on Vimeo.

Animator Morgan Miller sent a link on YouTube then wrote "my colorist friend Crystal did alot of tweaking on it with a Wave Panel console...for her little home studio, and then when you look at You Tube, it looks all washed out."

Here's the YouTube link.



The color difference from the same source file is pretty strong.

I Wasn't Expecting To Be Here Today

so I didn't really prepare a post.

For a moment or two, as clouds broke over Brooklyn I thought maybe, hopefully, the Belt Parkway would be a highway to heaven. Or hell. It doesn't really matter.

Cole

Doing some more research and found this nice little film on Thomas Cole on the website for his landmarked home in Catskill.

Picturing America

The past year or so we've been happily and proudly associated with the NEH and PBS' Picturing America (On Screen) initiative.

The program is expansive -crossing schools, libraries, websites and ultimately broadcast media. We did the title sequence for the broadcast and made a few of the short subjects.

In trying to finish up the last one, we hit a bit of a snag. So I revisited the NEH website for insight and found this. The body of the segment is downloadable, this is the only version I could find embeddable (which, incidentally, is a spell check approved word whereas "downloadable" is not).



The first :45 seconds or so are a kind-of intolerable opening. Skip passed them to body of the clip. The students reactions after the NEH promo ends are also interesting.

As mentioned, there was a hiccup with this last piece we're doing. Watching this little video helped remind of the goals of the initiative. I had been thinking a lot about the "ways of seeing" and "observing" aspects -the former hasn't been well addressed in the other episodes -but was reminded of the resulting rewards of seeing and observing: illuminating stories of the past.

Hopefully this shift in thought will help wrap up the last subject and turn it into a good little film.

Have Your Cake

So these are crummy cel phone pictures

Combining cartoon and sugary food is older than Grandma's first Twinkie, but in an era of expanding young waistlines is this really the proper place for some characters?

Cookie Monster now famously eats celery (something I don't understand, celery may be the disgusting food on the planet), but he can be eaten cupcake form.

Of course there's parental responsibility, but hey - if we're a trickle down society shouldn't the profiteers shoulder some responsibility too? With great power...

I didn't get any of these. But I bet they were delicious. Thanks Disney, Marvel, Nickelodeon, Warners and Sesame Workshop!

Welcome to the 20th Century

In the quest for simplicity I've been experimenting with making little gifs for the website.

They misbehave on some operating systems.

This is the simplest, working up complicated ones too.

Top Cel Vol 2, #13 -09/28/45; War Is Over, Unrest On The Horizon

Photographic Science Lab, Art & Animation Div., USMAS. Anacostia

TOP ROW: G. Rufle, T. Byrne, C. Nett, H. Rich, B. Roberts, T. Tobin, R. Kennedy, F. Greene, J. Ulm, B. Morrison, G. Snowden, H. Binder

ROW TWO: E. Cook Jr., G. Martseqis, E. Parks, D. Major, N. Schwarz, M. Arens, N. Dulin, C. Perkins, A. Kneitel, G. Goepper, S. Popko, R. House.

ROW THREE:  C. Rayburn, E. Haworth, R. Gotto, A. Wells, C. Shankland, K. Miner, Z. Jablecki, M. Provensen, S. Spohn, A. Franc, H. Hutsin, E. Carey

ROW FOUR: V. Wise, A. Rosenberg, F. Randolph, P. Lacallaide, M. Schulteis, L. Parks, P. Krisl, B. Hansen, J. Ebensperger, K. Coyle, B. Oates, R. Minick, M. Coy, B. Reynolds, T. Hersch, L. Perrigo

ROW FIVE: Paul Fennel, Lee Blair, W. Tracy, W. Kennedy, C. Glenar, A. Wise, L. Schmitt, A. Lowy, R. Stokes

Those not in the picture are: V. Bank, C. Byrne, J. Carey, J. Jones, E. Loughlin, W. Pattengill, L. Rhodes, C. Shinn, E. Sharpe, S. Whittaker, D. O'Malley, B. Schibler, V. Darling, R. Avery

PANEL'S REPORT AND RECOMMENDATIONS ON OUR

DISPUTE WITH FAMOUS NOW BEFORE THE W. L. B.

Union Shop Clause: "The Union Shop Clause contained in the 1944 contract between the parties shall be incorporated in their 1945 agreement."

Duration of the Contract: "The term of the contract shall be for two years.  The contract shall contain a provision permitting the question of wages to be reopened at the end of the first year."

"Most Favored Company" Clause:  "The Company request that the "most favored company" clause shall be retained in the 1945 contract shall be denied."

Wages: "The panel recommends that the rates approved by the Tenth Regional Board (Calif.) for the animated cartoon industry be approved as minimum rates in the instant case.  The panel recommends further that the parties through collective bargaining fix the rates for the positions not listed here, using as a basis for those rates the rates recommended in this report.  It is also recommended that the parties, through collective bargaining, fix the rates for apprentices, and reconsider the whole question of rate ranges."

OUR UNION

"September 6, 1945 - Eugene Kline, Esq. 1501 Broadway, New York City -Dear Mr. Kline: I have been advised by the Business Agent of Screen Cartoonists Local 1461 that your client, Famous Studios, is hesitant about paying the bonus money dues to it employees because of an uncertainty about present War Labor Board policies.  The Union has suggested that I ask you to advise your client of the existence of WLB General Order 10, as amended, which reads as follows:

'(a) The payment to employees, whose wage or salary adjustments are subject to the jurisdiction of the National War Labor Board, of a bonus or gift may be made without the approval of the National War Labor Board'......

The Union has already called this new policy to the attention of Mr. Buchwald but he prefers to await your advice before acting.  Will you kindly provide him with a copy of this Order as soon as is conveniently possible so that this matter can be quickly cleared up.  Very truly yours, (s) Marvin D. Cristenfeld, Attorney for Screen Cartoonists."

In this issue of 'Top Cel' we would like to acquaint our members with the mechanics of collecting the weekly assessment.  The results of the first two weeks, in spite of its being a new experience for many of us, were very pleasing.  There were a few members however, who were "confused" by the new ruling of the membership. To them we would like to state that the regular dues will not be accepted until all the assessments have been paid.  You can pay these assessments either every week or once monthly IN ADVANCE if you so desire.  Another point the members should keep in mind is that the receipts given them by the stewards should be kept as that is the only proof they will have that payment has been made.

At our General Membership a Grievance Committee was appointed to discuss with Mr. Buchwald of Famous, six or eight grievances, including the payment of bonus money, that have been pending for some time.  Mr. Buchwald has absolutely refused to meet with this committee ("the issues are not important") to discuss the grievances.  at a luncheon meeting on Sept. 12, the committee decided to postpone direct action to correct our complaints until plans can be completed.

WHY A UNION

Where grievances are concerned your union is a sword and a shield.  It is a sword in that it carries your gripe to the employer and fights for you.  It is a shield in that it protects you from reprisals.  But your union cannot go around hunting for complaints.  For instance, your contract with Famous Studios provides that existing working conditions shall be changed.  Yet the company stopped the use of pay telephone and cut out coffee drinking at certain times.  Recently the head of the Painting Department has gone as far as to threaten to forbid incoming calls as well as outgoing calls.  Although your union might have had these conveniences restored under the contract, no one seemed to care about them, no one seriously complained, so nothing was done.  You union exists to represent you in such matters, and in all matter large and small.  MAKE YOUR UNION EARN YOUR DUES AND YOUR BUSINESS AGENT EARN HIS SALARY by filing your grievances promptly and seeing that they're attended to.

NEW YORK CARTOONISTS WILL PICKET

At our last General Membership meeting on Sept 11, our members voted unanimously for a motion requiring every member of our Local to join the picket lines that will soon be formed around NY theaters to back the Hollywood strike.  A card will be sent to each member to determine what time of the day or night will be most convenient for him or her to picket.  Watch for the notice of a meeting to be held soon to arrange the details of the picket lines.

"AMERICA, WE G. I.'S PROTEST!"

In a letter addressed to "Dear Mr. & Mrs. America" 'Roundup' (that Ralph Sommervile so kindly send us each week) speaks to the nation:

"For weeks, our paper has been publishing stories picked up from the nation's press quoting public figures who have been lamenting the plight of returning veterans.  At first those stories tickled our GI sense of humor, and we gave them the facetious treatment they deserved.  But it has reached at point today where there is too much of what was never a good thing.

We -your husbands, sons and friends, separated by 14,000 miles from all we know and hold dear -are fed up with this constant attempt to magnify servicemen's readjustment problems which, in the majority do not exist.  We feel that such ill-advised and unwarranted overemphasis on the readjustment bogeyman will result only in creating a war-neurosis among civilians.  It will make what should be happy and long awaited return home by the soldier a nightmare interlude of trying to convince his wife and parents and friends he is not a first-rate problem child.

What we really want you to know Mr. and Mrs. America, is that we aren't coming home a mass of jibbering idiots, expecting a life of luxury through the courtesy of overpadded bonuses nor are we going to be carrying the torch for a picture of a semi-nude wench whose only purpose was to brighten up drab living quarters.

There will be no need to lock the windows and doors or hide the children.  No need to self-consciously attempt to steer the conversation into channels designed not to upset us or flinch everytime we sneeze or raise a hand to scratch our backs.  We're not bloodthirsty, nor has our long exile in far-off lands made us subject to sudden fits.

No, Mr. and Mrs. America, we're just a bunch of damned lonesome Joes, and the only readjustment we're worried about is getting ourselves back across 14,000 miles to the USA.  And to us, all the crackpot dissertations about problems of the returning war veteran and all grandiose "welfare" schemes are strictly for laughs.  Don't let them mean any more to you."

WITHDRAWAL CARDS

Again we would like to remind the members who leave the Studio that they must write a letter requesting a Withdrawal Card if they don't want to keep on paying dues.  Unless a written request is received and the .10 fee paid, the members face an automatic suspension at the end of three months.  So please make sure you make your request in writing.

KNOW YOU RIGHTS

You don't have to:
Pay more than your maximum rent.

Sign a lease that is different in terms and conditions than your expiring one.

Accept an "escape" pr "escalator" clause (to the effect that rent will be increased if OPA regulations are modified or dropped) if your expiring lease didn't have one.

Be evicted solely because the landlord refuses to renew your lease, as long as you are paying the maximum rent.

FLIPPINGS

No longer with Famous: Sara Tsurugka, Dorothy Kneitel, Lynn Cataldo, Lillian Chiodo, Bella Weinberg, Sylvia Alevy, Kamma Phelps, Hazel Heit, Otto Messmer, Brenda Reiner, Gloria de Gregoriis, Evelyn Gay, Norma Korn.

Recent baseball poll winner include: Peggy Breese, Dolly Knickerbocker, Connie Renze and Don Figlozzi.

Iris Tomberg taking over Kamma Phelps job, while Doris Zverin is promoted to Effects Dept.

More vacation news: Jean Maier, Nancy Lee Jones and Mrs. Bishop found themselves in Conn.  Elsa Fumaro spent her vacation at Lake George.

Gloria Wilson, Edythe Barnell, Patricia Ward, Eileen Saracino, Mae Goldstein, Kathrine Simonian, Jack Ehret and Frances Scribnik are new employees at Famous.  Why such a turnover?

Freddy Benz back at Terry's as an opaquer instead of an office boy.

Iris Tomberg will formally announce her engagement next month.

Jose Corral, just discharged from the Signal Corp, now working at Fletcher Smith.

Pat S. Barker is in Texas with her husband.

Edith Fiorino back at Famous.

Lou Zukor is the proud father of 6 lbs. 4 oz. baby girl. Joan Carrol. Congratulations.

Joan Bassi who is soon to be married, was given a surprise shower at the home of Mary Ann Marvin.  Almost all the girl from Terry attended.

Lillian Grossman out with pneumonia.  Get well!

Johnny Wulp left Terry's for a short rest and then...back to school.

More new employees at Famous: Edith Fiorino, Lew Ladsman, Nina Irwin, Rosemarie Rossi, Elaine Ryder, Therese Varela, Mary Vassilo, Pete Burness in New York.

PUBLIC OPINION

In a recent public opinion poll one of our best known poll-takers pretended to find out for a second time how America stands on the closed shop issue by asking the usual cross-section an oh so unbiased and unslanted a question as "Would you be in favor of FORCING EVERY WORKER to join a union AGAINST HIS WILL in order to keep his job."  The answer to such a question, as would be expected, was a large percentage of nos.  We wonder if the response would have been any different if the famous unbiased poll-taker had asked "Are you in favor of protecting those who sacrifice their money, time and often their jobs to form a union and fight for a contract against the selfish free rider who will take the hard won increased wages and working conditions and even refuse to pay dues to support the organization that won the better conditions and continues to fight for them?

EDITORIAL


The war just ended, among many other things, has given us many new phrases to bandy about.  One of these is 'protective custody', for instance.  Those who understand what that means will laugh at its camouflage.

At Famous Studios too, we have our own cute little ways of putting things. Here, for instance, no one is ever fired.  They are merely 'forced to resign.'

A few weeks ago, we said good-bye to two girls who has formerly been members of the Inbetweening Department, and who also has been 'forced to resign'.

Who they were is not almost as important as several other thoughts and implications that enter our minds.  We believe it could have been and other two inbetweeners.  Or inkers, opaquers and lest they forget, animators and head animators.  It already happened in the Cutting Room.  You read about it in earlier issues of this paper.

To us, it appears to be only a small part of a larger pattern.  We might possibly be wrong.  We, most certainly, hope we are.

Whichever way that is, however, it raises the question of efficiency in our minds.  We don't believe it is possible to maintain the high standards of accuracy and efficiency required in the production of animated cartoons when the minds and hands that turn them out, are weighted down with doubts and questions involving such primary and essential things as security.

So far, the people affected have not been with the studio for as long as a period as have most of the animators, background men and those in a few other departments who can boast of long periods of service.  How long before these latter people are affected is an important questions the answer to which lies in the graces of either one person or us.

We don't mean to raise doubts in the minds the employees of the studio.  We do intend to raise doubts and questions in the mind of the employer whenever he feels like pulling some strings or pushing buttons on any 'statistic' at the studio.

THE DUFFLE BAG

We are happy to inform our readers that according to our information Vonda Bronsom, Henry Binder, Bernadine Schibler, and Charles Byrne were honorably discharged from the Anacostia Unit to be followed by Virginia Bank, George Goepper and Kathleen Coyle.

Abner Kneitel was in town.

After two years, Connie Auditore returned to the states from Italy.

Sgt Jim Logan, Pfc Wm A Perez, Cpl Nat Elliot, Ted Bonnickson, Leo H Buckner, and Cpl James H. Baldwin have sent in change of address.  Thanks!

Sgt. Stan Green back in New York wearing the Purple Heart.

At the Animation Unit in New York, those leaving include Myron Waldman, George Germanetti, Earl James, Al Eugster,  Dave Hoffman, Dick Blundell, John Harbaugh and Jack Zander.

FAKING THE NEWS ('IN FACT' July 30)

"By staying the job the 4th of July US Labor made up in one day all the time lost by strikers since Pearl Harbor.  This magnificent fact knocks out every lie against labor told the past four years by 99% of the US press  by all the reactionary columnists of the Pegler type, all the radio liars, all the plain and fancy liars who poison the information of the American people.

Guild Reporter (July 13) has obtained documentary evidence on how the Associated Press first told the foregoing fact, then got cold feet and faked the news.

First AP story read: 'Time lost in all the strikes since Pearl Harbor was virtually offset yesterday by the millions of workers who observed Independence Day by laboring...'  Later the AP sent out a 'sub intro night lead' or substitute story story saying: 'Millions of workers observed Independence Day by Laboring... Theoretically offsetting to some extend the time lost in strikes since Pearl Harbor.

This 'to some extend' story, however, was further changed.  A 'second night lead' began: 'Millions of workers observed Independence Day by laboring but there still were some 50,000 strikers idle...'  The 'offsetting all time lost since Pearl Harbor' was this killed, and a fraud again perpetuated on readers."

HOLLYWOOD STRIKE (Cont.)

The most important development of the last two weeks in the fight in Hollywood to liberate the democratic forces in labor of the IATSE-Producer coalition, was the entry of the CIO into the picture.  No sooner had the CIO Executive Board recommended to support the strikers than the General Council voted unanimously to comply with that recommendation.  Approximately 5,000 workers are participating in picketing the movie houses in Hollywood.  That collective picketing was the first that AFL and CIO units have done in cooperative basis.  Since the theater managers are beginning to scream to the producers and the producers magnates are finding that the box office "take" around town has been considerable lessened, this new tactic in the strike procedure has been considered as urgent in bringing an early settlement.

By now our members are familiar with the "small but mighty, bursting with the HOLLYWOOD ATOM" that the Publicists Guild is sending us daily by air mail, and where we see the daily development of the strike.  The members are also or should be, acquainted with "The Picket Line" sent to us by Herb Sorrell's office.  We want to thank them, because that is the only way we can keep our members informed of the facts.

A notable development was the arrival in New York of Roger McDonald of the Set Designers.  The Strike Strategy Committee have instructed him to carry out negotiations for theater picket lines here.  And to endeavor to consolidate activities here and in general keeping the people notified at the same time of the strike issues.

We wish to heartily welcome Mr. McDonald and to assure him that everything in our power will be done to facilitate him in his work.  With a committee established here in New York we should have closer cooperation in our efforts to keep the democratic forces in our unions.