tual property debate a voice of dissent regarding the direction the United States is currently headed.
The system at Disney Productions seems to be designed to prevent the artist from feeling any pride, or gaining any recognition, other than corporate, for his work. Once the contract is signed, the artist's idea becomes Disney's idea. He is its owner, therefore its creator, for all purposes. It says so, black and white, in the contract: "all art work prepared for our comics magazines is considered work done for hire, and we are the creators thereof for all purposes." There could hardly be a clearer statement of the manner in which the capitalist engrosses the labor of his workers. In return for a small fee or wage, he takes from them both the profit and the glory. . . . While the world applauds Disney, it is left in ignorance of those whose work is the cornerstone of his empire: of the immensely industrious, prolific and inventive Ub Iwerks, whose technical and artistic innovations run from the multi-plane camera to the character of Mickey himself; . . . And of course, Carl Barks, creator of Uncle Scrooge and many other favorite "Disney" characters, of over 300 of the best "Disney" comics stories, of 7,000 pages of "Disney" artwork paid at an average $11.50 per page, not one signed with his name; while his employers, trying carefully to keep him ignorant of the true extent of this astonishing