A ’70s Disney Fan’s Scrapbook

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I was delighted to receive an unusual gift over the holidays – a perfectly preserved scrapbook kept by a Disney fan in the 1970s. Christopher got this in an online auction, explaining that he originally intended to take some of the rarer paper ephemera out of the book and ditch the rest. We both ended up thankful that it was kept intact.

From what I can tell, this scrapbook was kept by a young kid, probably about my age (b. 1968), who likely lived on the East coast of the U.S. The earliest dated item is a small Disneyland pamphlet guide from 1975, while the last items are news stories promoting Disney’s first PG-rated feature, The Black Hole, from December 1979. This kid saved everything – souvenirs from Disneyland and Walt Disney World, toy packaging, wrapping paper, mail-in items promoting Disney collectibles, TV Guide ads for Disney movie broadcasts, even an example of the little blue Mickey Mouse price tag familiar to many a Disney park visitor of the time.

Apparently the most loved Disney thing to this particular fan was Snow White and the Seven Dwarfs Live On Stage, a limited engagement musical which premiered at Radio City Music Hall on October 18, 1979. Strangely, the scrapbook has nothing at all related to The Rescuers and Pete’s Dragon, two favorites of mine from that era (1977).

They saved the groovy outside packaging on this SCRAP BOOK.

They saved the groovy outside packaging on this SCRAP BOOK.

Helpful into on '70s Walt Disney World.

Helpful info on ’70s Walt Disney World.

River Country closed? Waaah.

River Country closed? Waaah.

The magical little blue price tag.

The magical little blue price tag.

WDW shopping bag, newspaper ad for Sleeping Beauty re-release, cut up LP cover.

WDW shopping bag, newspaper ad for Sleeping Beauty re-release, cut up LP cover.

The Winnie the Pooh Sunday comic strip never ran in MY paper.

The Winnie the Pooh Sunday comic strip never ran in MY paper.

Brochures from Disneyland and Anaheim hotels.

Brochures from Disneyland and Anaheim hotels.

Snow White lives again, according to the NY papers.

Snow White lives again, according to the NY papers.

Wrapping paper for every mood.

Wrapping paper for every mood.

Dumbo Pop varieties and hard candy wrappers.

Dumbo Pop varieties and hard candy wrappers.

Does Richard Schickel still think it "simply blows one away!"?

Does Richard Schickel still think it “simply blows one away!”?

A Mix with Room for Cream

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Dark Roast: Scrubbles.net Winter 15 Mix came about as a result of listening to a lot of stimulating yet unobtrusive music while writing reviews. Finding the perfect music for that situation entails lots of things – either no singing or non-English vocals, strong melodies, upbeat vibes, jazz modulations that don’t often delve into indulgent noodling. Most often than not it leads to ’60s Brazilian music and Bossa Nova-inspired stuff, whether it’s American lounge or groovy Italian soundtracks. The 61-minute program on Dark Roast reminds me of waking up with a nice cup of coffee, ready to get to work.

Listen to Dark Roast at Mixcloud, or via the handy player below:

Dark Roast: Scrubbles.net Winter 2015 Mix by 4colorcowboy on Mixcloud

Discovering John Alcorn: Evolution by Design

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As a birthday gift to myself, I bought a coffee table book titled John Alcorn: Evolution by Design. This is one time when it’s appropriate to call it a gift, since this tribute to possibly the most prolific ’50s-to-’80s-era illustrator shares Alcorn’s gifts with the world – corny, yet true!

Co-authored by Alcorn’s son, Stephen, and design historian Marta Sironi, Evolution by Design succeeds as both a comprehensive career overview and a personal remembrance (Alcorn died in 1992). Packed full of beautifully reproduced original art, this volume was an eye-opener. For someone like me who knew Alcorn from his groovy late ’60s commercial peak (e.g., The Fireside Book of Children’s Songs), the breadth and sheer talent displayed within these pages is nothing short of revelatory. This man was a true artist, always searching for the next horizon to explore. Alcorn started out with New York’s legendary Pushpin Studios, branched out on his own to incredible success in the ’60s, then helped shape America’s visual zeitgeist with a vocabulary of sinuous shapes, natural forms, and wild colors. He wasn’t one to rest on his laurels, however. In the early ’70s, Alcorn and his family uprooted to Italy, where he studied the country’s master painters and craftsmen. He remained astonishingly prolific during this time – becoming a favorite of the iconic film director Federico Fellini, among others – although most of this period’s output never made it to the U.S. Returning to these shores in the late ’70s, Alcorn continued to thrive with a gorgeous, mature style highlighted by a thoughtful attention to detail that never appeared fussy. The book closes out with a chapter devoted to one of the artist’s recurring visual motifs, the blooming flower.

John Alcorn: Evolution by Design was published by Moleskine, the notebook company, in 2013. It can be purchased at the Moleskine website or at Amazon.com.

Illustration projects for Mead papers (left) and The Beatles Illustrated Lyrics (right), 1969.

Illustration projects for Mead papers (left) and The Beatles Illustrated Lyrics (right), 1969.

Ad campaign for WCAU radio shown alongside their letterpress plates, 1959.

Ad campaign for WCAU radio shown alongside their letterpress plates, 1959.

Cut-paper student work and advertisement, mid-'50s.

Cut-paper student work and advertisement, mid-’50s.

Fruits and vegetables illustrated for Morgan Press and others, 1981-91.

Fruits and vegetables illustrated for Morgan Press and others, 1981-91.

Logo designs for Italian publisher Rizzoli, 1970s.

Logo designs for Italian publisher Rizzoli, 1970s.

Children's book illustrations, 1969.

Children’s book illustrations, 1969.

Various book jacket designs from the late '60s and early '70s.

Various book jacket designs from the late ’60s and early ’70s.

Frank Redlinger’s Jazz-Age West

Frank Redlinger - Grand Canyon color block print, 1933.

Frank Redlinger – Grand Canyon color block print, 1933.

I grew up in Scottsdale, Arizona, which bills itself as “The West’s Most Western Town.” Although most of my childhood was epitomized by breezy walks to school (half a block from the house!) and being glued to the TV with a box of Cheerios, the town’s quirky fake-Western character also played a part in my development. Scottsdale was still a fairly small town back in the ’70s, with a main drag characterized by wooden-slatted souvenir shops done up like the set of Gunsmoke and a cutout figure of a lasso-toting cowboy. Back then it was just there, but that filtered, sanitized version of history still influences my work – especially the 4 Color Cowboy tumblr.

While outright kitsch definitely has a place at 4 Color Cowboy, I wanted to use it to find artists, movies, music and other projects that use that iconic Western stuff in a different, thought-provoking way. One such discovery was an artist named Frank Redlinger. After coming across his stuff while browsing through the Heritage Auctions site (fantastic place, by the way), I fell in love with his crude, beautiful landscapes, cowboys and other subjects rendered in wood-block prints. The artist maintained studios in two different places (Abilene, Texas and Los Angeles). The only pieces of his I’ve found date from about 1930-35, when he was in his forties. Simple and bold, they look to be inspired by the California Impressionists and Western movie posters from the silent era. He died in Los Angeles, a few days shy of his 66th birthday, in 1951.

Enjoy this little gallery of Frank Redlinger’s work. More can be seen at Heritage Auctions.

Frank Redlinger - Rainbow Arch block print, 1931.

Frank Redlinger – Rainbow Arch block print, 1931.

Frank Redlinger - On the Prod block print, 1934.

Frank Redlinger – On the Prod block print, 1934.

Frank Redlinger - Untitled block print, early 1930s.

Frank Redlinger – Untitled block print, early 1930s.

Frank Redlinger - Untitled Desert Caravan block print, 1932.

Frank Redlinger – Untitled Desert Caravan block print, 1932.

Frank Redlinger - personal Christmas card, 1932.

Frank Redlinger – personal Christmas card, 1932.

Frank Redlinger - Camelback Mtn. block print, 1932.

Frank Redlinger – Camelback Mtn. block print, 1932.

Frank Redlinger - Action In The Abstract block print, 1933.

Frank Redlinger – Action In The Abstract block print, 1933.

Frank Redlinger - Canyon De Chelly block print, 1931.

Frank Redlinger – Canyon De Chelly block print, 1931.

Frank Redlinger - Untitled Cowboy Being Bucked Off print, 1930s.

Frank Redlinger – Untitled Cowboy Being Bucked Off print, 1930s.

Frank Redlinger - Untitled Grand Canyon block print, early 1930s.

Frank Redlinger – Untitled Grand Canyon block print, early 1930s.

Frank Redlinger - Untitled Yucca Silhouettes block print, early 1930s.

Frank Redlinger – Untitled Yucca Silhouettes block print, early 1930s.

Look What I Found: Two from Helen Borten

Little Don Pedro (1965) and What Makes Day and Night (1961), illustrated by Helen Borten.

Little Don Pedro (1965) and What Makes Day and Night (1961), illustrated by Helen Borten.

In the annals of vintage kiddie books, the name of Helen Borten is a lesser-known yet beloved one. The Philadelphia-based artist remains well-regarded for the beautifully composed, deceptively simple visuals she made for a series of science-instructional books in the 1960s. Franklyn M. Branley’s What Makes Day and Night is a typically lovely example. While Branley’s text teaches children about the earth’s rotation around the sun in a fun, accessible way, Borten’s illustrations visualize the concepts perfectly. Working with a limited color palette of black, red, and yellow, Borten does fantastic things with composition and texture – parts of it are rendered in a primitive-modern lines, while others have a tactile, woodblock feel. It’s wonderful.

In addition to science books, Ms. Borten illustrated across a wide swath of subjects. I wasn’t aware of this, however, which made it a special delight when coming across the story of Little Don Pedro by Helen Holland Graham. This 1965 effort revolves around a timid Mexican boy who bravely faces off against an escaped bull in his tiny village. Four years on from What Makes Day and Night, we find Borten continuing the clever use of limited colors (here, green joins the solid red-yellow-black family), while the subject matter brings out a looser style. I love this stuff! In 1968, she authored and illustrated a lovely looking book on animals, The Jungle, which is on my to-get list.

As far as I can tell, Ms. Borten is still active. Although she apparently left illustration behind for a successful career change into producing radio documentaries, hopefully she has some awareness of how well-regarded her art continues to be.

Source: Fishink – Helen Borten A Creative And Illustrative Genius. (July 5, 2012)

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Look What I Found: The Fairest One of All

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With 1937’s Snow White and the Seven Dwarfs, Walt Disney took a gamble that audiences would sit still for a feature-length animated film – he won, magnificently. What showed up on screen as a sweet, pleasant fairy tale involved massive amounts of labor, second-guessing, fine-tuning, and pruning away of excess story. All of this is detailed by Disney historian J. B. Kaufman in his 2012 book The Fairest One of All, which satisfies as both a thorough production history and a lovely, large-format tribute to this still-influential animated icon.

Snow White certainly had a huge impact on my young mind when I saw a reissue screening in the ’70s (maybe the earliest movie I remember seeing?). In that darkened theater, I swooned to Snow White’s untouched beauty, cowered in terror at the Wicked Witch, and laughed along with Dopey and the other dwarfs. Being a little kid, when it was over I wanted more. Later on, my mother indulged me with the Disney storybook record album (the one with the purple cover), which got heavy play on the family turntable. To this day, the sound of Adriana Caselotti’s trilling makes me smile. The movie pretty much turned me into an artist, an old movie buff, and a full-on Disney freak – three in one!

Since Snow is so personally dear to me, I had extremely high expectations for The Fairest One of All. Surprisingly, the book ended up outdoing those high expectations – Kaufman truly knows his Snow White history, and it’s efficiently laid out in this beautifully designed volume. After a few chapters detailing the history of the Grimm Brothers’ source tale and the various pre-Disney stage and film renditions, Kaufman comprehensively goes through the film, scene-by-scene, explaining how they came to be. As a straightforward chronological history, having it arranged in the order the story is told reveals a ton of fascinating episodes which might have been lost the other way. It may even be too detailed for all but die-hard Snow White buffs. Kaufman’s research is so incredible, however, and it’s written in an accessible style. I devoured sections discussing scenes that were significantly tweaked (such as the prince’s introduction), painstakingly re-animated (the dwarfs coming home from the mine), or eliminated entirely (scenes with the dwarfs eating soup and building a bed for Snow White; a dream sequence meant to accompany “Someday My Prince Will Come”). Every single frame in this film got analyzed to a degree that’s never been attempted before or since. If anything, this book is a tribute to Walt Disney’s high standards and attention to detail.

J. B. Kaufman recently published another, similar comprehensive history on Disney’s follow-up film, Pinocchio. You can bet it’s on my wish list. The Fairest One of All was published by the Walt Disney Family Foundation Press in 2012. It can be purchased here at Amazon.com.

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