As a side note, Egmont also named Felicity's husband-the twins' father-Frank, though he has yet to be specifically named or depicted in a published comic. Īt Egmont Publishing, when her new design and characterization were fleshed out by Disney comic author Paul Halas and Disney comic artist Francisco Rodriguez, she was given the name Felicity Fieldmouse. ![]() The fact that Mickey is Morty and Ferdie's maternal uncle was also indirectly confirmed by the fact that, in the 1935 Mickey Mouse one-pager He's a Knockout, Mickey states that he does not have a brother. However, the relationship was changed to a siblinghood when she was re-introduced in more recent comics. Fieldmouse is not Mickey's sister as drawn, she looks more like an elderly relative, and Mickey refers to her "Mrs. Fieldmouse", a Dutch translation of the same of the comic strip had Mickey referring to her as "Amalia" (Dutch spelling of "Amelia"). While in the original English version she had no first name and was referred to as "Mrs. ![]() She first appeared in Morty and Ferdie's 1932 debut strip, Mickey's Nephews, as a mouse lady arriving at Mickey's house and drops the twins off, asking if Mickey would not mind caring for them while she's running an errand. Fieldmouse in her (and Morty and Ferdie's) first appearance. Fieldmouse, is an anthropomorphic mouse who is Mickey Mouse's older sister and Morty and Ferdie's mother. In its decade-long run, it ended up documenting the no-wave scene just like any alt weekly might have done - only better, because the noise was right there with you instead of words on a page.Morty and Ferdie Fieldmouse (sons) Sourceįelicity Fieldmouse (née Mouse), also known as Amely Mouse-Fieldmouse or Amalia Fieldmouse or simply Mrs. It presented curated cassette audio as art rather than simply music recordings, and collected poetry, drama, and avant garde audio into a portable, easily consumable medium. Part of her inspiration was Tellus, the first successful publication formally known as an "audio cassette magazine." Founded in 1983 by noise composer Joseph Nechvatal, Carol Parkinson (now the director of nonprofit arts organization Harvestworks), and Claudia Gould (now the director of New York's Jewish Museum), Tellus was an experiment with the then-wildly successful cassette tape format. " just my pace: You publish four times a year, and you have some time to really curate it." Instead, what made the most sense was the publishing schedule for a format very rarely associated with audio: quarterly magazines. While radio seemed like the most obvious form of distribution for audio, that daily pace wasn't exactly how she wanted to create or distribute her work. "I kept asking myself, 'Why do I like audio so much? What does that mean? What are the options available if you like that sort of thing?'" Kauffman told WIRED. It all started with a simple question: If you could hear an art magazine instead of reading it, what would it sound like? After releasing many of her recordings on her Life Spying tumblr, Kauffman decided to take it to the level by asking for submissions from artists, and curating them into her first issue of Master Cactus. ![]() That belief in the intimacy of physical sound is a major touchstone of Brooklyn-based artist Becca Kauffman's project Master Cactus, an audio cassette magazine filled with field recordings, monologues, songs and avant garde sound art that documents the local scene where her band Ava Luna has been making music over the past few years. This resurgence within largely young, underground audiences proves that despite much ado about the death of physical media, many people - at least in some subcultures - still want actual, intimate contact with the culture they consume. People buy and sell zines online as readily as they'd order stationery, while cassette-dominant labels - like Orange County locals Burger Records and Minnesota-based Night-People - do so well that some of them have opened storefronts they've also created Cassette Store Day, where local labels and collectors advertise on the Internet, then gather in DIY spaces to buy and sell cassettes. ![]() While that looks increasingly prescient for mainstream music, it's not true for every form of art zine culture and audio cassette trading has actually been buoyed by the rise of the Internet, despite fading from popular consumption. When the Internet and MP3s began taking off in the early 2000s, many hand-wringing critics believed the rise of digital media would spell doomsday for their physical counterparts.
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