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Ariana Tadlertechup2022-07-28T14:11:00+00:00
Ariana Tadler
ARIANA J. TADLER is the founding partner of Tadler Law LLP, one of only a handful of women-owned and -led plaintiffs' law firms in the country advocating for consumers and investors against corporate fraud and abuse. With 26+ years' experience litigating and managing securities, consumer and data breach class actions and complex litigation, Ariana is considered one of the top leading women litigators in the country and is well-known as a fierce advocate for her clients. Described by Chambers USA as one who "passionately defends her clients' interests to the greatest extent possible," Ariana litigates large, complex, high profile cases, with unique legal and technological acumen and case management skills.
Ariana is regularly appointed by courts to leadership positions in large, complex federal, multi-district, and state coordinated proceedings because of her extensive experience managing complex litigation.
Ariana is also recognized as one of the nation's leading authorities on electronic discovery and pioneered the establishment of an e-Discovery Practice group within a plaintiffs' firm
structure more than 15 years ago. Her exceptional skills and knowledge in the field of e-Discovery have distinguished her among her litigation peers. She is the only plaintiffs' lawyer to be ranked repeatedly as a Band 1 e-Discovery Practitioner by Chambers and Partners in the Global-USA and USA-Nationwide categories, an unprecedented achievement. In 2017, she was appointed by United States Supreme Court Chief Justice Roberts to serve on the Federal Civil Rules Advisory Committee. Additionally, she has been appointed by Committee Chair Judge John D. Bates to the subcommittee tasked with reviewing and considering potential civil rules for multidistrict litigation (MDL) cases.
A thought leader who understands the technical issues and the language involved, Ariana speaks regularly on a variety of litigation and discovery-related topics and has authored articles and developed and promoted best practice tips and tools, including The Jumpstart Outline, published by The Sedona Conference®. She served for five years as Chair and is now Chair Emeritus of The Sedona Conference®'s Steering Committee for Working Group 1 on Electronic Document Retention and Production, the preeminent "think tank" on e-Discovery. She also sits on the Advisory Board of Georgetown University Law Center's Advanced e-Discovery Institute where she has helped educate federal judges and lawyers on e-Discovery issues. Ariana previously served as the Executive Director for the Board of Advisors of the Benjamin N. Cardozo School of Law's Data Law Initiative (CDLI), transitioning from that role, among others, to focus on her appointment to the Rules Advisory Committee.
In addition to industry focused programs, Ariana serves as a guest lecturer at law schools teaching students practical skills to prepare them for the real-life practice of law.
Ariana is also the founder of Meta-e Discovery LLC, a data hosting, management and consulting company.


In 1609, Caravaggio returned to Naples from Palmero where he spent several months recovering from a fight in which he had been injured and waiting for the Pope to issue him a pardon so he could return to Rome. It is believed that it was here that Caravaggio created his large altarpiece, Nativity with St. Francis and St. Lawrence.
The painting depicts the infant Christ child on a pile of hay while a weary Mary looks on with an angel overhead and surrounded by men, one of whom we assume to be Joseph. One of the other men is St. Francis of Assisi standing behind the family in his brown Franciscan rob with hands folded. The other figure, in gold colored deaconate garb is St. Lawrence. Though these men were born many years following the birth of the Christ child, the painting was commissioned by the Company of St. Francis who was in charge of the Oratory of St. Lawrence in Palermo. They wanted a scene created which people could relate to and which connected their apostolate to the holy family.
The scene Caravaggio created is not the idealic one most might imagine of the first Christmas morn, but instead a sort of glimpse into a more realistic scene to which the viewer can relate. The holy family seems very human and gives a glimpse into the poor and somber life of the day. The cast of characters forms a half circle allowing room for the viewer to be a part of the scene.
The painting hung in the Oratory of San Lorenzo in Palermo, Italy for over 350 years. However, on October 18, 1969 Caravaggio's painting was cut from the frame and stolen. The painting is now on the FBI's Top 10 Unsolved Art Crimes list. Over the years, numerous rumors have surrounding the theft most of which involve the Mafia. It is possible that the painting, worth an estimated $20 million, may have been destroyed or sold. Whether, destroyed or not, officials don't know but they do believe the painting has never left Italy.


After throwing many profitable handsets into the marketplace for years Samsung not desirous to be lagging behind out there for bluetooth launched the WEP200 headset. Measuring simply 40mm x 18mm x 18mm the WEP200 Samsung headset is kind of a small headset and an enormous achievement for Samsung who appear to have made one headset that has made it to the market. The earpiece of the WEP200 Bluetooth matches snugly into the ear due to the rubberized rings however a 100% grip could be ensured through the use of the versatile over ear loops supplied. Though the becoming can be higher for everybody if completely different sized earpiece covers had been supplied. Because the sole factor accountable to carry the Samsung headset in place is the rubber ring the bluetooth needs to be plugged into you ear correctly or it is going to fall off cuffie senza filo B07DNG6MD4.


The accused Boston Marathon bombers were planning to bomb New York's Times Square.
Mayor Michael Bloomberg revealed on Thursday that surviving bombing suspect Dzhokhar Tsarnaev admitted he planned to attack the crossroads of the world.
Times Square was flooded with police within minutes of the Boston Marathon bombings as a precaution, but until Thursday revelation no one knew how serious the threat was.
NYPD Commissioner Ray Kelly said the brothers had six bombs ready to detonate in Times Square, including a pressure cooker bomb just like the ones used at the Boston Marathon.
Dzhokhar was familiar with Times Square. A picture showed him there with friends in November last year.
Meanwhile, singer Neil Diamond announced that he's donating royalties from his iconic hit "Sweet Caroline" to the victims of the bombings.
The anthem has been sung at every Red Sox home game for the last decade and Diamond himself sang it at the emotional first game at Fenway after the bombing.


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Restaurant pricing expert weighs on how to offset rising costs
TAMPA — Rising costs of beef, labor and health care mean tight times for fast-food restaurant owners.
To maintain profits, many have resorted to revising menus and tweaking prices.
Enter Tom Kelly. The chairman and CEO of Revenue Management Solutions works with restaurants and retailers to adjust menu pricing without hurting traffic or the company's bottom line. Clients range from McDonald's to Checkers and Famous Dave's.
Founded in 1994, RMS employs 138 people at offices in Tampa, Singapore, Paris and Tokyo and took in $22 million in revenue last year. It uses statistics and patented mathematical algorithms for analyzing data to set prices for thousands of restaurants worldwide.
From his company's headquarters on Harbour Island, Kelly, 64, spoke with the Tampa Bay Times about finding the sweet spot for menu pricing and figuring out what customers really want.
With all the talk about boosting workers' pay, would you advocate raising menu prices across the board to offset the cost?
No, you would really offend the consumer. Suppose I have tripe on the menu board. I might sell one a month. If I put it up there at $18 and everything else is $6.29, what happens is consumers see it and say, "Oh my gosh, that's ridiculous.'' They were never going to order it, but if I query those people, their value score for the restaurant goes down radically based on what they saw, not based on what they ate or what they paid for.
What about cutting employee pay to cover increased food and health care costs?
I do not agree with that approach. People are going to be critical when they go out to dinner, so don't compromise the experience. The average person, when they go to a restaurant, doesn't remember what they spent within 24 hours — plus or minus 18 percent — but they do know if they're going to go back. Frequency comes from really good food and lack of frequency comes from poor service. We've never been able to figure out how to charge for something that people don't want.
How often does a fast-food or fast-casual restaurant change prices?
It depends on inflation. It's maybe two or three times a year. More inflation, more often. Less inflation, less often.
When you change prices, do you typically target the most popular items?
We gravitate to the most popular items that provide the most cash. That's because suppose you have an item that has a 98 percent profit margin, but you only sell one a year. It doesn't matter. It's not uncommon for us to the lower the price of an item to get people to trade from less profitable items to more profitable items. What we'd never do is change all the prices at one time.
Isn't it expensive for an Outback or Ruth's Chris to reprint new menus?
In a chain, the cost of changing the menu across 100 units might be $50,000 to $70,000, but if I could manipulate new prices, the (increase in revenue) could be $500,000, $1 million or $1.5 million. Which would you rather have? That said, I have been at meetings where owners say we can't afford to do it.
Some people say they would rather pay a little more for burgers and fries so the workers make more money, but restaurants have generally resisted. Why?
(In the late '50s) there was a car made called the Edsel. There was a lot of research that said people would buy it because they said they would. But they didn't buy it. You need to go with the hard science because people don't always do what they say they are going to do. And people don't always know what they want because they haven't gotten it yet. What we measure here is the actual behavior at the transaction level.
How are restaurants missing the mark when it comes to menu pricing?
If you are of the generation who remembers (President Dwight) Eisenhower, you are price-sensitive and you will cut costs before you will raise prices. But the truth is that most consumers today will tolerate the higher price, but they won't tolerate the lesser service. If you look at the quick-service industry, it gets busy around lunch for about an hour. The No. 1 thing that makes sales, other than opening the doors, is opening another register or service lane. Sales go up 10 to 12 percent usually, but owners don't do it. And when times get tough, they cut back on labor, but then the lines get longer. And if the lines get longer, some people leave. And if some people leave, your profits go down and you have to cut back on labor. You see what happens.
Can you change the prices more easily at high-end restaurants or fast-food restaurants?
How you feel about pricing is much more based on your age than income. It will not correlate to your gross income, but it will have a statistical relationship to your disposable income. In other words, a family with kids approaching college age with two incomes who are doing well, they will be somewhat price-sensitive because they have tuition to pay. Warren Buffett, for example, can afford a new Sony TV. He can probably buy Sony. But he doesn't. He has a 1982 version in his office because he was born in that era and that's the way he is.
Contact Susan Thurston at sthurston@tampabay.com or (813) 225-3110. Follow @susan_thurston.
Up next:PODS sues U-Haul over its use of the word 'pods'

redpajama_set_name: RedPajamaCommonCrawl


If you're prepared to admit it, life as an entrepreneur or manager in the digital and creative industries in 2013 can be baffling and overwhelming. The rate of change is extraordinary. Businesses start up and disappear. A new trend – social or technological – might seem to be the biggest thing since Facebook. Then another new wave appears that sweeps that right away.
It's a bit like a surfing beach. We think we can see patterns – the waves come in sevens? But then the big wave we're waiting for just fades and dissipates. All is quiet. And then it's not. A much bigger wave has knocked us off our feet.
Change does seem like that – like a complex system in nature. Think waves, weather, forests and ecosystems. The perfect symmetry of leaves, then trees smashed and wrecked by a tsunami. In complex, adaptive systems, it's pretty much impossible to predict with any certainty what will happen next.
So what can we do? Well, what many people in business want to do is to be able to make good decisions, quickly and effectively. To invest their time, and their money, cannily.
And how can you best build the capacity to do that?
My suggestion is to do business more consciously.
That may sound wacky. But really it isn't.
What's so good about consciousness?
Increased consciousness allows you to acknowledge reality without being subsumed by it. Increased consciousness gives you a better chance of assimilating and integrating all the different things that are coming at you.
In the modern world, science and technology alone won't cut it. But nor will 'soft' skills – an appreciation of the arts, or psychology. Successful entrepreneurs are able to fuse domains, and integrate approaches from a range of disciplines.
Success in business means working on the soft stuff – culture, people – and on the hard stuff – profitability, revenues, business models.
This means bringing together the emotional, the intuitive and the rational. How you 'feel' about things can be a great guide. But you'll also need the intellectual wherewithal to dive in and analyse the detail.
Thinking alone won't get you far. Nor will contemplating your navel.
It's vital you dive in and get experimental. One good way to really figure things out in a complex system is by being a part of it.
We need to think, and do. To reflect as we act. To do things differently.
Doing business consciously means behaving in certain ways. Experimenting yes, failing fast yes.
It also means behaving respectfully towards others. Business may change, but it's also as old as the hills. And it's always been based on relationships.
We work well with people we like. Good deals that don't unpick are based on trust. Culture – how we work with others in collaborative teams – really does eat strategy for lunch.
In an increasingly connected world, we need to include everyone's interests. We need to be able to empathise with others, and respect and value differences.
If we don't, we'll be found out quickly. And, anyway, it's the right thing to do. It's one small way we make the world a better place.
Above all, consciousness leads to real innovation.
Umair Haque nailed it when he called most innovation unnovation. Adding a third blade to a razor doesn't really change anything. You still just have a razor.
And the world doesn't need more razors. It needs something radically different – new ways to achieve things. It needs what Google did, what Facebook did, what the new generation of digital and creative businesses are doing – rethinking everything. From airbnb to Odesk to Lawdingo.
Doing business consciously means coming at problems in different ways. Growing able to reflect on your own framing, on how you see the world. Thinking vertically when everyone else is looking at the world horizontally.
Conscious business – or doing business more consciously – is not a panacea. And it's not for everyone.
It can be hard work. And it's a process – not an end-state. In one way we never arrive – which some may find discouraging.
But, for the digital entrepreneur who wants to be successful in a complex, fast changing world, this, for me, is the very best way. To gain material success, while also having a richer experience along the way.
If you'd like to learn more why not investigate a Conscious Business community of practice here in the UK.
This entry was posted in Editorial team and tagged conscious business, conscious business people, consciously, consciousness, pete burden, surfing by Pete Burden. Bookmark the permalink.


Design influences from the Far East have always found space in the western world with the likes of George Nelson and Isamu Noguchi wowing the world with their masterpieces. As the quest of the urban denizen to find tranquility and relaxation grows with each day, decorating elements from the East are increasingly becoming more prominent. Embracing Thai and Balinese influences gleefully, this contemporary home in Vancouver combines luxury with serenity in an effortless fashion. The confluence of elements is truly spellbinding as contrasting finishes complement each other ever so beautifully throughout the residence.
Designed by RUFproject, a custom screen made out of Sapele wood slats shields the top level of the house from excessive sunlight and also provides necessary privacy. A beautiful entry combines different elements as the small reflecting ponds, stone steps, wooden door and bamboo garden well and truly bring home the Oriental vibe. Step inside and the picture changes dramatically with marble finishes and custom millwork creating an air of opulence interlaced with tranquility. An open plan living on the lower level is connected with the spacious kitchen, dining area and a sitting room / sunroom that flows into the courtyard outside.
A luxurious master bedroom with stunning marble fireplace and a spacious master bathroom next to it defines the top level along with additional private spaces. A private courtyard with multiple entryways and stone stairway connecting it with the master bedroom completes the expansive and exclusive Canadian home built for an avid traveler.


Applications for employment are accepted for open positions only.
Apply online Opens a New Window. or by calling the Personnel Office at 707-431-3322. To be considered for a position with the city, completed applications must be submitted no later than the filing deadline.
The qualifications of each applicant, as set forth in the application, will be reviewed by a screening committee. Those applicants determined to be best qualified for the position will be invited to continue in the recruitment process. Candidates participating in an oral interview will be evaluated on experience, training and personal qualifications for the position. The City of Healdsburg reserves the right to modify the selection process as necessary to conform to administrative or business necessity.
The City of Healdsburg will require, as a condition of employment, documentation of the legal right to work in the United States. The candidate selected for the position will be required to successfully pass a thorough physical examination given by a city-designated physician. Background and references checks will be conducted on the final candidate. Candidates being considered for appointment may be required to submit to fingerprints and criminal history investigation, pursuant to California Education Code 109.11.5.
Candidates who require special accommodations due to a legal disability, should supply the Personnel Department with documentation and a written request 5 days prior to the date of examination on the need for accommodation.


Lisa Shipley, Executive Vice President and Managing Director of TNS' Payment Network Solutions business discusses the importance of retail fraud and her role overseeing TNS' global team across the Americas, Europe and Asia Pacific regions.
In this issue of the PaymentEye e-newsletter we interview Lisa Shipley, Executive Vice President of TNS on the importance of retail fraud and TNS' latest report on security concerns that the payments industry is facing with the shift to card payments.
And in other news, we assess the future of credit affordability and discuss the next generation of contactless payments.


Can We Feed 7-plus Billion and Be Green?
This past week I spent three days with an old high school chum–actually a lot of old high school chums–but this post is about one in particular. We were both attending a Passionist Assembly focusing on Laudato Si coordinated by Mary Evelyn Tucker and John Grim. the directors for the Forum on Religion and Ecology at Yale. Mary Evelyn and John were students of one of my favorite Passionists, Fr. Thomas Berry. They actually met in one of his classes at Fordham University, got married and now spend their lives sharing the New Story, The Dream of the Earth. It's a fascinating story filled with lots of hope and an actual plan of action for the earth into the future.
In the discussion that followed one of Mary Evelyn and John's presentations, my high school chum challenged: "This earth stuff is all well and good, but how does that answer the question of how we feed the 7 plus billion people who get up hungry every morning?" (talk about being practical!) I don't think Bill, the questioner ever got a satisfactory answer.
That last one really fascinates me, almost to the point I think I'd like to try it. Anyone interested?
I remember as a small child seeing "Victory Gardens" during WW 2. Perhaps a similar concept to the "one Acre" solution.


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The MysterIous Flame of Queen Loana
A CHRONICLE OF RESEARCH AND MUSINGS ON PRE-WAR & WARTIME COMICS & COMICS TIE-INS (Note: Unless otherwise noted, all Turkish and British editions referred to in this blog are from my personal collection. I kindly expect proper references to this blog when using info on and scans of the Turkish and the British editions posted here. I myself care to list the sources I use with regards to background info.)
WINNIE WINKLE AND PERRY
'Winnie Winkle', chronicling the deeds of a young woman who was the sole "breadwinner" in her household, was one of the longest-running American strips. Toonopedia says that it "wasn't the first newspaper strip with a "working girl" theme. [...] But it's the first to attract a lot of attention. [...] Thus, it was Winnie who paved the way for all the strips about working women to come". 'Winnie Winkle the Breadwinner', as it was originally titled, was started in 1920 by Martin Branner for the Chicago Tribune Syndicate. A few years into the strip, Winnie adopted a street kid named Perry, who became the star of the new Sunday page which entailed his mischiefs along with his gang of friends known as "the Rinkeydinks". ' Winnie Winkler' was adapted into cinema in the form of a series of comedy shorts between 1926-28 and two 'Perry Winkle and the Rinkeydinks' big little books were published between 1937-38, but none had their own comics books titles in the pre-war and the wartime era.
In Europe, the Winnie strip does not appear to have taken hold, but the Perry and the Rinkeydinks comics became quite popular. In France, where Perry was renamed as "Bicot" (and Winnie as "Suzan"), Hachette published 14 comics albums featuring him between 1926-39; after the war, French artists themselves would make even further Bicot comics.
In Turkey, Perry and the Rinkeydinks were renamed as 'Cin ve Arkadaşları [Cin and Friends]' and serialized in the weekly children's magazine Mektepli in 1934. It is Winnie who appears at the end of the second page in the below samples; I wonder if her somewhat odd-looking skirt shows sign of censorship of revealing legs or was it that way in the original version:
Mektepli, published by A.Sami, had started in 1932 and is known to have lasted until at least 1935, but I have only issues from 1934 in my collection. 'Felix the Cat' also made a very sparodic appearance in the magazine, but he was billled as 'Miki Fare [Mickey Mouse]'!!.. Besides 'Cin ve Arkadaşları', two longer running comics in Mektepli in 1934 were a humourous comics with Laurel & Hardy look-alikes titled as 'Bodurla Gagaburunun Maceraları' and a light adventure comics titled as 'Pire ile Çekirge'; none of whose original sources I could identify:
It is worth noting that while running very light comics clearly aimed at a juvenile readership profile, Mektepli frequently published quite disturbing illustrations, referring to (non-comics) text stories published inside, on its covers:
http://www.toonopedia.com
http://www.danslagueuleduloup.com
Posted by Kaya Özkaracalar at 2:16 PM 1 comment:
Labels: Bicot, Felix the Cat, Mektepli, Winnie Winkle
OBSCURE COMICS ABOUT A GLOBE-TROTTING KID
The above comics began to be serialized in Afacan's first series (1932-34) and continued for several years in the subsequent second series as well. It tells the story of a mischievous kid, named "Pire Nuri" in this Turkish edition, who eventually embarks on an adventure in Africa, befriending a black native kid who from that point on in the serial accompanies him thereafter in subsequent adventures as well. Some of the caligraphy inside the pictures (such as the one on the window in last panel in the above scan) are in French, but a signature as "D.Camus" is visible in some panels; I couldn't find any reference anywhere to an artist with this name.
Posted by Kaya Özkaracalar at 3:24 PM No comments:
Labels: Afacan
CHARLIE CHAPLIN AND OTHER FILM COMICS' COMICS
Comics featuring comedy actors/characters from early cinema were a staple of pre-war comics. Comics of Charlie Chaplin, the biggest comedy star of the era, were naturally the most prominent examples of this genre. 'Charlie Chaplin's Comic Capers' began in a Chicago newspaper in 1915, only one year after Chaplin's film career had started, but lasted for only two years. During its relatively brief run, more than one artist worked on it in succession but the last was E.C. Segar, who would later gain fame as the creator of 'Popeye'.
Chaplin comics would be far more durable in France where this star is called as "Charlot". In 1921, 'Les Aventures Acrobatiques de Charlot' by Raoul Thomen started in the weekly children's magazine Cri-Cri published by S.P.E. Between 1926-35, these comics were reprinted in 13 albums. Cri-Cri ceased publication in 1937 and the last two Les Aventures Acrobatiques de Charlot albums of the pre-war era were published in 1938. After the war, all of these albums by would be reprinted in an abridged form and in the 1950s, a new series titled simply as Charlot would begin with new artists, among them Jean-Claude Forrest who would later create 'Barbarella'.
The Charlie Chaplin comics published in Turkey in the weekly children's magazine Afacan are black & white Turkish editions of 'Les Aventures Acrobatiques de Charlot' which were originally printed in color in France; for example, the sample above is from the Turkish edition of the 'Charlot est bon enfant' episode (thanks to S.P.E. expert François for this identification). Charlot (Turkish spelling: Şarlo) comics appeared only sparodically in Afacan's first series (1932-34), alternating with other comics pages featuring other comedy actors, but were regularly serialized in its 2nd series which began in 1934. The most frequent cinema comics appearing in Afacan's first series was a Laurel & Hardy page:
The French Cri-Cri magazine, which had ran 'Les Aventures Acrobatiques de Charlot' had also ran a highly popular 'Les mésaventures de Laurel et Hardy' comics by Mat [Marcel Turin], but it had started in 1934, so can not be the source of the above Turkish edition which began appearing in 1932. On the other hand, a Laurel & Hardy comics by George Wakefield was ran in the British magazine Film Fun in the 1930s, but I couldnot find out when it had precisely started.
Another comics published in Afacan's first series featured Harold Lloyd and this one almost certainly appears to originate from Film Fun (and hence make it probable that the above comics might have also originated from that source):
http://www.bd-nostalgie.org/
http://gadsircomics.blogspot.com/
Posted by Kaya Özkaracalar at 11:28 AM 2 comments:
Labels: Afacan, BD, British Comics, Charlot
PITCHE IN TURKEY
Afacan, whose first issue came out on Oct. 13th, 1932, would be one of the major children's magazines in Turkey in the 1930s. First and foremost, Afacan is notable for introducing 'Mickey Mouse' strips to Turkish readers (a subject which I had covered in an article on pre-war Disney comics in Turkey I wrote to Tomart's Disneyana), but it also included several other comics in its roster.
Afacan, in its first series (1932-34), was a very large-sized periodical in the format of newspapers. The bottom part of its front page featured a humor strip (re-)titled as 'Cabi Efendi' which is the only non-Disneyic foreign strip in Afacan that I can identify definitely: It is the Belgian-French daily strip 'Pietje'/'Pitche' by Alek Stonkus. It had began in Belgium as 'Pietje' in 1930 and was published in France as 'Pitche' until 1950. A rather murkily phrased statement in Lambiek.net indicates it might be the first non-American daily strip in France. Anyway, its Turkish version 'Cabi Efendi' is the first strip published in Turkey which I encountered so far that used speech balloons and did not use text outside the panels. All other strips published in Turkey till then were either published without speech balloons or with both speech balloons and extra-panel texts.
In the early 1930s, 'Cabi Efendi' was also published in Çocuk Sesi, another children's weekly put out by the same publisher as Afacan's.
Posted by Kaya Özkaracalar at 10:25 AM No comments:
Labels: Afacan, BD, Pitche
OBSCURE FUMETTI ABOUT ITALIAN MIGRANTS
Between 1940-46, Türkiye Yayınevi, Turkey's leading comics publisher in the war era, published 75 monthly "special issues" of 1001 Roman alongside the weekly comics magazine of the same title. While several different comics titles were simultanously serialized in the weekly magazine, each "special" issue headlined a complete episode of a single comics. While popular titles such as Mandrake the Magician, Phantom, Tim Tyler's Luck and Secret Agent X-9 dominated the series, several issues were devoted to obscure one-shot titles such as no. 17 (May 1941) whose covers is shown above.
The Turkish title translates as "Beyond the Ocean". It is 20 pages long (with 4 rows in each page) and recounts the plight of the Italian migrants in America. The story begins in 1902. Poor Italians sign up to migrate to America to work there. The heroes' names are Bruno, Marco and Cigli (sp?). Hardships begin on the ship voyage. They are taken to Argentina rather than the USA and begin a very hard life there as farmers. In the story's end, years have passed and the young and healthy new generation sign up to return home as volunteers when the news of "great war" break out.
If anyone knows any info, such as the original title, creators, etc, about the original source of this historical curiosity, please let us know.
Labels: 1001 roman, fumetti
TIM TYLER'S LUCK
The title of Italian author Umberto Eco's 2004 novel La Misteriosa Fiamma della Regina Loana (The Mysterious Flame of Queen Loana) is taken from the title of an Italian pre-war comics album of an episode of the American comic strip 'Tim Tyler's Luck'. The novel concerns the attempts of an ageing and ill Italian man to recover his childhood memories by going over old books and magazines stocked in a country house he had lived as a child. Prominent among the treasures he rediscovers are vintage comics hidden in a chapel in the garden. Since this blog will chronicle discovering, rediscovering and musing on similar material -though fortunately under less dramatic circumstances-, I find it fitting to title it as such. And hence, it is also appropriate to start it with looking at 'Tim Tyler's Luck'.
'Tim Tyler's Luck' was an American comics strip created in 1928 by Lyman Young, whose younger brother Chic would go on to greater fame with 'Blondie' in the ensuing years. Several ghost artists worked on it, including the legendary Alex Raymond. The title hero was an adventerous orphan who, together with a friend named Spud, settled in Africa after the strip's first few year's of more juvenile storylines, joining a colonial jungle police force called the Ivory Patrol. Even though the strip was sufficiently popular in its country of origin to spawn a movie serial in 1937, it seems to have been more popular in Europe, perhaps because Europeans had more at stake in maintaining colonialism in Africa. In any case, American adventure comics strips of all kinds originating in the pre-war era appears in general to have been more popular in Europe than in the US (whereas American super-hero comics have failed to make much of an impression in Europe).
The first time Tim Tyler appeared outside of newspapers was probably an illustrated story book published by the NY & Ohio-based Saalfield Publ. Co. in 1934 (see the cover above). Two Tim Tyler's Luck 'big little books' would also be published in 1937 and 1939; and the reprints of the strips themselves would be serialized in Ace Comics from 1937 onwards. However, there were no comics headlining 'Tim Tyler's Luck' in the US in the pre-war years. The first US-edition Tim Tyler comic book came only in 1942 and even that was a one-shot publication.
Meanwhile in Italy, Tim and Spud re-named as "Cino e Franco" were the main feature of a comics magazine titled Il Giornale di Cino e Franco published by the the Firenze[Florence]-based comics publisher Nerbini between 1935-38. Nerbini also had published 17 adventures of Cino e Franco in a series of comics albums between 1934-38 and a further ten Cino e Franco albums were put out by the same publisher in a new series between 1940-41 (the Nerbini 'albums' are soft-cover comics books in oblong format).
The first French-edition Tim Tyler album was published by Hachette in 1934 as a one-shot titled Fred et Tim en Afrique. In the ensuing years however, Tim and Spud would be re-named as "Raoul et Gaston" in France. 17 issues of the oblong-format Collection Appel de la Jungle, which ran for a total of 26 issues, published by Moderne between 1938-40 were Raoul et Gaston titles.
After the war, the title was picked up by Sage which initially published nine 8-pages long mini-albums of Raoul et Gaston between 1945-46. Then, Sage began publishing the Aventures et Mystére series whose 19 issues between 1947-49 were Raoul et Gaston titles, most of which were reprints of the pre-war Collection Appel de la Jungle series while some were newer adventures. Below are covers of the some of the Raoul et Gaston titles from Aventures et Mystére series:
As for the Turkish editions... 'Tim Tyler's Luck' debutted in the first monthly "special issue" of the weekly comics magazine 1001 Roman on January 1940. This first special issue actually headlined Mandrake the Magician and an 8-pages long 'Tim Tyler's Luck' episode titled 'Kara Kaplan [Black Tiger]' was used as filler space. However, 'Tim Tyler's Luck' soon began to be serialized in the main 1001 Roman beginning with weekly no. 39 under the title 'İki İzci [Two Boyscouts]' where Spud was re-named as Sarp while Tim's name remained unchanged. On the other hand, nine monthly "special issues" over the years would be İki İzci titles. Plot synopsises and reviews of İki İzci episodes will hopefully be presented in this blog in the near future.
http://www.toonopedia.com/
http://www.fumetti.org/
http://www.danslagueuleduloup.com/
Posted by Kaya Özkaracalar at 6:59 AM 2 comments:
Labels: 1001 roman, Tim Tyler's Luck


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