The strip began in the Berkeley Barb in 1976 and was syndicated nationally soon after (by Rip Off Press),[6] originally as a weekly strip. When William Randolph Hearst III took over the San Francisco Examiner in 1985, he offered Griffith an opportunity to do Zippy as a daily strip. Several months later it was picked up for worldwide daily distribution by King Features Syndicate in 1986, appearing in 60 daily papers by 1988.[6] The Sunday Zippy debuted in 1990. When the San Francisco Chronicle canceled Zippy briefly in 2002, the newspaper received thousands of letters of protest, including one from Robert Crumb, who called Zippy "by far the very best daily comic strip that exists in America."[citation needed] The Chronicle quickly restored the strip but dropped it again in 2004, leading to more protests as well as grateful letters from non-fans.[citation needed]
A collection of about 1,000 Zippy quotes was formerly packaged and distributed with the Emacs text editor. Some installations of the "fortune" command, available on most Unix-type systems, also contain this collection. This gives Zippy a very wide audience, since most Emacs users can have a random Zippy quote printed on their screen by typing "M-x yow" and most Linux or BSD users can get a random quote by typing "fortune zippy" in a shell. However, as a result of a decision by Richard Stallman prompted by FSF lawyer Eben Moglen, motivated by copyright concerns,[18] these quotes were erased in GNU Emacs 22.[19] Zippy under emacs now will only say "Yow! Legally-imposed CULTURE-reduction is CABBAGE-BRAINED!".[20] Zippy can be restored by replacing the yow file with one from an older Emacs.
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Fans all around the world are in love with Zippy, the fun-loving, University of Akron (UA) mascot. But have you ever wondered about the creative mind behind the original concept of our beloved kangaroo?
Dear Zippy Paws, My favorite game to play in the whole world is Fetch the Pearl. I play several times a day, but I refuse to play with any other type of ball. My mom keeps purchasing oysters, (we have 6), but all I really want are the pearls. Would you please consider selling pearl refills. My mom will buy a whole big bunch! XOXO Love, Fleur
I guess I straddle the boundary between what is expected and what is possible. I ask my readers to meet me halfway. For me, comics are personal. Just as I rejected the corporate world, I reject the idea that a comic strip is there to deliver a punch-line and fade out.
This is Star Wars morality, also known as modern leftist morality: never strike first, even if such restraint means your own destruction. Hollywood tells us this gives happy endings. The real world kills us with it. Leftists, of course, are quite rationally hypocritical in their systematic violations of this principle; it takes a traditionalist to follow it all the way to suicide. We might justifiably conclude that it's a mindweapon deployed by the left against the right. Anti-consequentialism is a luxury enjoyed by the descendants of consequentialists, and always creates the circumstances for its own destruction and replacement by a new breed of consequentialists.
I, who among those here disputed most strenuously with him on his understanding of usury, would never stoop to calling him "dishonest" merely because I thought he erred on part of it. Besides the fact that he was, in the main, right about it, he was better read and more thoughtful about it than nearly anyone else around, and ended up willing to change his mind about it because the Church and its teachers held the better arguments, even though those arguments disagreed with his earlier thinking. That's intellectual integrity.
Happily, "never strike first" is not a tenet held by TRUE traditionalists, because it is not a tenet that is prescribed by the natural law. It is a bowdlerized left-media version of one of the principles of just war, and good traditionalists don't go to the left-owned media to learn those. But even if it were, traditionalists would be content with being the winners in the long run, i.e. in the final, grand scheme of things when all injustices are made whole by God's final Judgment. I am quite confident that Zippy would agree with me that if one were to lose this whole world as the result of following the right ethical and political principles, such an outcome is worth it as the cost of keeping one's own soul. What good is it to gain the whole world, if in the bargain one loses the very thing with which one could properly enjoy it?
Kimmel, who wrote A Girl Named Zippy in her 30s, is able to re-enter the head of herself from the ages of 6 through 9 and view the world with all the wonder, curiosity, discovery, uncertainty and silliness that is the treasure of childhood.
Griffy is Zippy’s partner in "surreal" social criticism. He never met a phenomenon about which he didn’t have an instant opinion. All-too-rooted in the real world, he’s the "bad cop" to Zippy’s "good cop" as they affect and react to the "real world". Underneath Griffy’s judgmental nature, though, is a lot of insecurity and self-doubt. Try as he may to keep his emotions in check, they find a way out. He often uses his analytical powers as a weapon (or a shield) in his battle with modern civilization. L.A. is the perfect "fishbowl" for Griffy to analyze and dissect, since it’s the "belly of the beast"--the place where all fads and trends originate. He created and heads the "Stupidity Patrol", composed of three assistants who cruise the city looking for "deviants" (anyone who doesn’t see society the way Griffy does) and report back to him. Griffy is a part-time astronomer who’d rather turn his high-powered telescope down at the city than up at the stars. He works (naturally) at the Griffith Observatory, in the hills above Hollywood.
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Zippy’s twin, yet diametrically opposite, brother. Lippy dresses in black and thrives on misery-- his own as well as others. He only enters Zippy’s life for one purpose: to try and make him unhappy. Good luck, Lippy.
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Two guys and a gal, overeducated and underfed. They work for Griffy,cruising the streets of L.A., correcting the behavior of insensitive louts. Their mission in life: to point out to the rest of us our shortcomings and/or lapses in good taste.
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Zippy’s celebrity sniffing pooch, Starhound, can pick up the scent of Dom DeLouise at fifty yards. He and Zippy go for "starsearch" walks around Hollywood. Loni Anderson, look out!
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The Toadettes pop in and out of Zippy’s world as symbols of mass gullibility. They live to be swayed. Between all two hundred of them, they have half a mind. The Toadettes worship Mr. Toad like a god and rarely stray very far from their pond in Griffith Park.
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Indistinguishable from one another ("I’m one! I’m the other!"), Zeep ‘n Peep are Zippy spin-offs determined to achieve major merchandising clout. They’re all packaging and no content. They "appear" to Zippy occasionally in his fur-lined fallout shelter.
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An enormous dachshund head mounted on a pole, the Doggie is the last remaining vestige of a defunct fast food chain ("Doggie Diner"). It stands on a corner of town Zippy walks by almost every day. Zippy and the Doggie have long talks about human emotions and stuff.
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Ebb and Flo are Zippy’s parents. They may have sold him to the circus sideshow when he was born. Who remembers? They live in Florida. When they drop in (and after Zippy has checked their picture ID), Fuelrod and Meltdown get ready for some unconditional love. Be patient, FR and Melty. Very patient.
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Mr. Toad’s family. They live above Zippy and Zerbina. Their midnight furniture-throwing contests are a constant source of entertainment to the pinheads below.
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Zippy’s erstwhile cat, Dingy (at least in Zippy’s mind) is always demanding a Cuban cigar and a dry martini. Dingy’s catch phrase: "Cats are not cute!"
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Known for its non-linear style, quirky dialogue, experimental graphics, and social satire, the Zippy the Pinhead comic strip has entertained and interested a loyal following of readers since its inception in 1970. Created by Bill Griffith, the strip revolves around the non-sequitur spouting microcephalic and his small circle of friends. These include Griffy, the creator's alter-ego; Shelf-Life, the manic observer of marketing trends; Claude Funston, the trailer-inhabiting good old boy; and Mr. Toad, whose violent impulses create an occasional bit of suspense within the strip. Collectively, the exploits of this fivesome have cultivated the loyalty of an intensely specified audience who continue to identify with the strip's counter-culture world view.
To appreciate Zippy, and to understand his value as an agent of satire, one must know a bit about the world of Bill Griffith. Zippy was in part shaped by several meetings that Griffith had in the early 1970's with microcephalics, in whose disconnected impulses and childlike personalities he found appropriate material for a comic strip. Zippy's first appearance was in a "really weird love story" published in October 1970, in an underground comic book called Real Pulp. Soon, he had enough of a following to appear in his own comic venue, Yow! Comics, and attained a measure of mainstream status when the strip became a nationally syndicated comic in 1976. It then appeared regularly in both weekly and later daily newspapers in cities like Boston, Detroit, Washington, Los Angeles, and Phoenix, appealing to a vocal circle of followers who would protest any efforts to remove it. be457b7860
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