#1 Discriminación
bue, no se que onda, vi esto y me re llamo la atencion y lo quise compartir con todos.
When the original art from a 1978 cover of "Uncanny X-Men," by John Byrne and Terry Austin, was put online as part of a sale, it caused quite a mesage board stir over the appearance of what was seen as a racially offensive character in a section that would have been covered by a barcode when published.
As thread after thread kicked off, one bright spark decided to ask John Byrne to comment directly on his board. Byrne did not recall the sketch in question, but did not dismiss it either. While denying racism using his work as proof, he stated that this kind of activity was commonplace, racially, sexually in a pre-Politically Correct environment and part of acceptable in-office bad taste humour. Byrne writes:
"On one of my earliest trips into the 'new' Marvel offices, after I started working for them full time (around 1976 or thereabouts), I was amazed to see one office door sporting a perfectly rendered logo for 'Captain American and de FowlCoon.' Jokes about Black Goliath being 'the Big Nig' were common, and one writer -- whom I shall not name, for sadly obvious reasons -- used to say he wanted to do a Black Goliath story titled 'The Jig is Up!'"
Christopher Priest recalls similar events from the other side of the fence, with a slightly different interpretation of their acceptability. But how long did it take for things to change? In a followup message on a V thread, "Static" creator Dwayne MacDuffie commented, "I was at Marvel in the late '80s/early '90s and it wasn't any better. DC in the mid to late '90s was worse."
CBR
When the original art from a 1978 cover of "Uncanny X-Men," by John Byrne and Terry Austin, was put online as part of a sale, it caused quite a mesage board stir over the appearance of what was seen as a racially offensive character in a section that would have been covered by a barcode when published.
As thread after thread kicked off, one bright spark decided to ask John Byrne to comment directly on his board. Byrne did not recall the sketch in question, but did not dismiss it either. While denying racism using his work as proof, he stated that this kind of activity was commonplace, racially, sexually in a pre-Politically Correct environment and part of acceptable in-office bad taste humour. Byrne writes:
"On one of my earliest trips into the 'new' Marvel offices, after I started working for them full time (around 1976 or thereabouts), I was amazed to see one office door sporting a perfectly rendered logo for 'Captain American and de FowlCoon.' Jokes about Black Goliath being 'the Big Nig' were common, and one writer -- whom I shall not name, for sadly obvious reasons -- used to say he wanted to do a Black Goliath story titled 'The Jig is Up!'"
Christopher Priest recalls similar events from the other side of the fence, with a slightly different interpretation of their acceptability. But how long did it take for things to change? In a followup message on a V thread, "Static" creator Dwayne MacDuffie commented, "I was at Marvel in the late '80s/early '90s and it wasn't any better. DC in the mid to late '90s was worse."
CBR
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