Dogpatch Press

Fluff Pieces Every Week

Tag: history

Did the Axis Have Any Funny Animals? – WWII history from Fred Patten.

by Patch O'Furr

Submitted by Fred Patten, Furry’s favorite historian and reviewer.  

  • SEE BOTTOM: At Fred’s request, a gallery of rare book illustrations from Van den Vos Reynaerde was scanned for this post by the UCRiverside Library.
  • Animal fables traditionally tell morals – this article shows a historically fascinating misuse of anthropomorphism for fascist and Social Darwinist goals.
  • “Dear Patch; This is basically rewritten from my article for Flayrah, Retrospective: Talking Animals in World War II Propaganda.

Did the Axis Have Any Funny Animals?

Yes. Whether the Nazis and Italians did is technically debatable, but the Japanese certainly did.

(Oops! I am reminded that many younger people today do not know what “the Axis” was. “The Enemy” during World War II. Nazi Germany and Fascist Italy signed a mutual defense treaty on October 25, 1936 that Italy’s Benito Mussolini described in a speech on November 1 as putting Europe on a Rome-Berlin axis. Imperial Japan joined in 1937. On September 27, 1940, Germany, Italy, and Japan signed a Tripartite Pact and formally declared themselves the “Axis powers”. They were joined during the next month by Hungary, Romania, and Slovakia. “The Axis” during World War II meant Germany, Italy, Japan, and their allies.)

There were more funny animals assigned to them by American cartoonists for anti-Axis propaganda than there were of their own. The best-known today are probably the Leon Schlesinger/Warner Bros. animated short cartoons The Ducktators and Scrap Happy Daffy, and MGM’s Blitz Wolf.

In The Ducktators, directed by Norm McCabe and written by Melvin Millar, released on August 1, 1942, Adolf Hitler and the Nazis are ducks, Benito Mussolini is a goose, and “the Jap” (a stereotypical “Jap”) is presumably also a duck (although he looks more like a coot).

Read the rest of this entry »

Q&A with Biohazard, artist of the infamous “Too Hot for PBS” auction video.

by Patch O'Furr

[March 2020] — Hi John Oliver and friends! 

Here’s a followup to a previous article – Exchanging Fluids on PBS: Your eyes will bug out at this WTF furry video from 1992!  The artist Biohazard has more details on his page: “Too Hot for PBS”. (Update: page went down — the linked archive embedded videos you may find on Youtube.) 

Biohazard answered my request to talk about this crazy subcultural stunt.  Here’s our Q&A:

(Patch:)  The PBS art auction video is epic and classic.  I’m curious how the whole thing went down… beyond the stuff you have already posted, and what you can see in the video.

Can you set the scene to give us a little “furry history”? What was it like to be making naughty furry art in the 1980’s, when that was a more daring thing than now? How did you start making it? How did you start sharing it? Who inspired you or gave you courage to share? What were the reactions? Who were your fans and how did you interact? Was it all by mail or was any in person? How much real-name/real-face interaction was there beyond your fan names? Was there much of a “furry scene”, and did they find you, or did you find it first?

I noticed you said something about donating to that auction for 14 years before they stopped taking the naughty stuff. Was your stuff always cartoony, and did it get more naughty over time? Did you get any funny reactions besides a “tense phone call” with the manager? Any other interaction with “the normals” before they changed their rules to ban your stuff? Did you continue donating tame stuff afterwards, or just move on?

biohazard(Biohazard:) Gallery 33 was not my original foray into TV Land; the first television appearance of my (non-furry) art was at the age of eleven! My winning entry in a 1977 Baltimore Symphony Orchestra poster contest was announced and displayed on the local children’s show ‘Captain Chesapeake’. (I was even invited to City Hall where I met crazy ol’ Mayor Schaefer.) Read the rest of this entry »

Special Features and Top Articles at Dogpatch Press.

by Patch O'Furr

Updated Feb 2019

  • Did you hear about that one time when President Obama invited a furry to the White House?
  • Read interviews with personalities like Pixar movie directors, punk rocker Jello Biafra, comedian Margaret Cho, and the most devoted fans.
  • See how fursuits sell for $25,000, and the biggest furry conventions raise six figures for charity and millions in local spending.
  • Furries in movies, on the front pages, featured on Youtube, trending on Twitter, and more.

Dogpatch Press has published over 1200 articles so far.  These got high traffic, dug deep to uncover a story, or they’re just favorites.

_______________

interviewsINTERVIEWS FOR FANS AND FURRIES:

Makers and Doers make a subculture thrive. Whether they build it or feed it with stuff we like, they have valuable stories to tell.

A THRIVING SUBCULTURE – PAST AND FUTURE, POLE TO POLE.

There’s a fur con somewhere in the world every weekend of the year. There’s furry houses with multi-generations of fans. Here’s roots, coming opportunities, spotlights on what makes a good community, and how far their influence goes.

“CELEBRIFURRIES” AND STREET CRED:

Furries have more influence than they even realize. Advertisers covet the street cred of subcultures. Disney winked at us with Zootopia. Are there celebrities who are secret furries? How do other subcultures overlap? What are the peaks of mainstream recognition for the fandom?

patch_icon_fursuitFURSUITING, THE MOST FURRY ACTIVITY.

It’s the the most original fandom creation, with it’s own coined name.  Nobody does it like furries and nothing else represents them so directly. Fursuiting is a booming cottage industry and makers are raising the craft until they’re envied by commercial mascot designers. Only 20% own this costly wearable art with scene-stealing looks, but a picture is worth a thousand words.  It’s hard to deny their huggable appeal (representing the touch-based name of this subculture.)

THE FURRY ECONOMY: 

economy

Cons are expanding at a healthy rate. Furry creators work fan-to-fan with self-sufficiency that even supports full time careers. Their main site Furaffinity is an independent project acquired by a venture-capital funded company.  It’s rising beyond a full-fledged subculture to possible commercialization. How will it develop?

“PALEO FURRIES” – ANTHROPOMORPHISM IN HISTORY:patch_icon_history

Fandom has hidden connections to a rich history of art and performance. A “museum of furry” could exhibit work that look like it’s from a parallel universe. Call them Paleo Furries. A “Panto-animals and Paleofurs” con panel could uncover hidden depth for what we love.

THE FURRY ART WORLD

It’s one of the most creative fandoms because all the content is self-generated. Sometimes it gets recognition in galleries and more.

THE FURRY MOVIE SCENE.

Film and video can be more challenging than other media where furries thrive. Other subcultures have developed enough to support independent film making. There have been a few attempts at furry features and some outside ones that come close. There are many fursuiting shorts (especially music videos) and animation student work. The holy grail might be a furry-made animated feature.

patch_icon_fame

FURRY MUSIC AND DANCE PARTIES – IT’S A MOVEMENT:furclub

Since around 2010, furry dance parties are getting established as urban night life.  They build on the growth of cons, but take their own direction in partnership with established venues.  Howl Toronto says – Con dances happen once a year, and “that’s just not enough to fill the need!” There’s also a slice of the fandom that makes original music and is starting netlabels, composing for video and games, and performing at cons.

BAD MEDIA, GOOD MEDIA.

Media exploitation makes sensitivity about being in the spotlight, but it’s a chicken-or-egg relationship. Rising recognition and appreciation brings power to negotiate and be better represented.

ANTHROPOMORPHIC POLITICS OF THE WORLD.

Like Democrat donkeys, Republican elephants, or “Animal Farm” the political allegory by George Orwell.

FANDOM POLITICS.

CHARITY AND SUPPORT.

WHEN FURRY MEETS FURRY – “THE TOPIC THEY LOVE TO HATE”.patch_icon_furry_love

It’s not an urban legend – some furries get wild. But sex isn’t a definer.  It can be a family friendly hobby too.  Media hypes sex, but romantic themes are part of being human, and furries are just regular people with extra rich imaginations.  Being unusually open and expressive is required for an interest spectrum beyond the default.  It can cause controversy. It also makes first-time visitors call them the most friendly people you could ever party with. This blog is anti-prude and not shy about sex-positivity.

FURRY PRIDE TIMELINE.

San Francisco Pride is one of the biggest Pride events in the world, with organizing by Patch since 2012.

FURRY TRASH.

Sometimes it’s fun to mix satire and comedy with news.  Keep Furry Weird.

LIMITS AND LIBERTIES IN SOCIETY

protestAcceptance is a big feature of furry subculture. It draws interests together, but nothing represents every member, because membership is self-defined.  Some interests get conservative disapproval. It makes tension between freedom and collective interest. It can involve prejudices, laws, or times for a social group to stand up for itself.

WHAT’S WRONG INSIDE FANDOM?

Furries have been punching-bags with sensational media exploiting them as freaks.  It can come from bias to only look for the worst in people. It can show stigma, shaming, scapegoating, or a streak of homophobia. But negativity doesn’t build anything, and that’s why it’s losing power with time. If you hear of “inherent” problems, look at the positive, expressive nature of the group.

CRIME AND PUNISHMENT:

Any community has crime, so it naturally happens with furries sometimes.  Most everything they do is harmless and positive, but rare problems can get sensationalized and it needs caution about bias.

SPECIAL GUEST POSTS BY PUP MATTHIAS:

ideasMORE SPECIAL GUEST POSTS:

FRED PATTEN PRESENTS:

Check his tag.  Fred was a star guest poster, with a long resume as fandom historian and reviewer.

THE REGULAR NEWSDUMP (phased out):

See the “Newsdump” tag.  These digest posts had curated links and “list worthy” small stories from around the web and the border between subculture and mainstream.  They gave a look at the state of the community over time.

French Anthropomorphic Animal Animated Features, part 1 – by Fred Patten

by Patch O'Furr

Submitted by Fred Patten, Furry’s favorite historian and reviewer. There will be four parts.

French (meaning French-language, whether produced in France, Belgium, Luxembourg, or the French-speaking part of Switzerland) anthro theatrical features have been in the news since the subtitled 2013 U.S. release (English-language dub in 2014) of the 2012 Belgian Ernest & Célestine, about the forbidden friendship between a mouse and a bear in a civilization of both. Right now, there is also Yellowbird.

French-language anthro theatrical features are older than most Americans think. Here is a chronological annotated list.

First, some rules. This list consists of those French-language theatrical features (no shorts or TV animation like the 1987 Moi Renart) that feature anthropomorphic animals as the only or majority of the cast. It does not include those featuring mostly humans with only one or two anthro animals, such as the Lucky Luke Westerns with Jolly Jumper, Luke’s talking horse; even when the animal(s) is the main star, such as the 2008 Fly Me to the Moon (three housefly astronauts meet Buzz Aldrin; ho ho) or the 2009 La Véritable Histoire du Chat Botté (The True Story of Puss in Boots) or the 2012 Sur la Piste du Marsupilami (On the Trail of the Marsupilami). It does not include any movies about living toys, fairies, gremlins, elves, or Smurfs.

Le Roman de Renard (The Story of the Fox), directed by Ladislas Starevich. 65 minutes. April 10, 1941.Roman_renard

This is a dubious “French” film with a dubious release date. Starevich (or Starewicz) began making stop-motion films in Russia in 1911. He emigrated to escape the Russian Revolution, and only happened to be in Paris during 1929 and 1930 when he and his wife Irene animated Le Roman de Renard. The animation turned out to be easier than the sound track, which was finally funded in Germany and premiered in Berlin as Reinicke Fuchs on April 10, 1937. The French edit, which is the best-known today, was released exactly four years later on April 10, 1941.

The film is presented as “the oldest and most beautiful story known to us animals”, as narrated by an elderly monkey dressed as a Medieval scholar. The scenario is credited to Irène Starevich, but it is essentially Le Roman de Renart as finalized in literary form by the Renaissance, especially in Wolfgang von Goethe’s 1794 Reineke Fuchs epic poem. By the 1920s almost every standard edition of Goethe’s poem had the 1840s illustrations by Wilhelm von Kaulbach, and the Starevich’s stop-motion models look very similar to these. If you know the 12th-century animal folk tale about Baron Renard the Fox at the court of King Lion, you know the plot of the movie.

Read the rest of this entry »