1. Scrooge somehow managed to maximize his potential, going from a life of shining boots to becoming one of the top five richest ducks in the world. And somehow Aunt Cindy is 45 and she still needs.
2. The 90s Disney estimated that the money bin had 70 billion dollars. That 70 billion dollars worth of gold, aka, illiquid assets. Scrooge owns business, mines, Mills and etc, although the cartoon doesn't go much other than him having stocks and financial assets. That's more gold than Fort Knox.

1. Lego Scrooge Mcduck
2. How Wealthy Is Scrooge Mcduck
3. Scrooge Mcduck Money Clip
4. Scrooge Mcduck Money Bin
5. Uncle Scrooge Money Bin

At first, they don't believe the legends about his worldwide adventures or a bin full of three cubic acres of money, so Scrooge opens the bin up for the first time in five years and shows them his fortune, along with his famous Lucky-er, Number One Dime. (' 'Lucky dime!' How @#.% insulting!' ) The tour is interrupted by a new generation of Beagle Boys, giving Scrooge the perfect chance to show Donald and the boys.

Midnight in the money bin. Uncle Scrooge leans back nd closes his eyes in rapture, dreaming of a frolic in the U.S. Treasury Building. It's after hours, so he has the run of the place. What will he find - ducats? doubloons? an ancient Sumerian crown? Is it possible the government vaults contain more wealth than his own teeming coffers? Billionaires think big, but sometimes the richest fantasies come in small packages. Scrooge's dream of gold and gems has been captured in the form of an egg, a jeweled artwork you can hold in the palm of your hand. Open the shell, slip inside the vault, and you can help McDuck count his treasures.

Only one man could have imagined this scene, and only one could have brought it to life using real gems. Carl Barks, who created the fabulously wealthy Scrooge McDuck and drew his comic books for twenty years, is no stranger to gems and treasures. Neither is Theo Faberge, grandson of Carl Faberge, the jeweler who produced ornate Easter gifts for the Russian tsars. Barks was ninety-one and Faberge was seventy and, for the first time, they combined their talents to create a modern artwork in a traditional form.

On the outside, the creation is wholly Theo Faberge's. He has imagined the façade of the Treasury Building as an egg, its dome shining austerely under the night sky, its wings wrapped around to form a shell. Surmounting the dome is the Imperial Russian Crown that can be seen on some of his grandfather's greatest creations.

It appears as well on nearly every egg in Theo Faberge's acclaimed St.Petersburg Collection. Inside, the fantasy is by Barks: Scrooge at play in the Treasury, but executed with real treasures by a master jeweler. The fame of Faberge dates from 1870, when Carl Faberge took over his father's business in St. Petersburg. Carl was a shrewd organizer, but it was his flair for creating what he called objects de fantaisie that put the family name on the map. Clocks, cuff links, even his umbrella handles were prized for their beauty and delicate use of enamels. Yet these rich trinkets pale beside the series of jeweled eggs he created for the Romanov tsars. Giving eggs at Easter dates back to the Middle Ages. The gift symbolizes new life at spring and new hope in the Resurrection. Jeweled eggs - often with candy inside - were a favorite with the aristocracy, and Tsar Alexander III wanted a very special present for his Danish tsarina. Carl Faberge created a white enameled egg with a golden yolk - and inside the yolk, a miniature hen of gold. So charmed was the tsar that he commissioned an egg a year after that; and when Nicholas II assumed the throne, he continued the tradition by presenting both his mother and his wife with an egg, each containing a surprise.

The fall of the Romanovs left Faberge's son Nicholas stranded in London, where he had traveled to set up an overseas branch. His own son, Theo, founded a fresh business and made it prosper. Today he is a member of Britain's Society of Ornamental Turners and a Freeman of the City of London. And he continues the tradition begun with the Imperial eggs by issuing new creations in limited editions. .

The McDuck Midnight Egg is the first in a series of five special commissions from the St. Petersburg Collection that will feature Uncle Scrooge. The shell is crystal, delicate yet durable. Its dome, enameled lapis blue to suggest the midnight sky, is punctuated by seven gold stars representing the decades of Theo Faberge's life. Below, the shell has been etched and hand-painted with 23-karat gold, the purest gold that can be fired onto crystal. Architectural forms evoke the stateliness of the Treasury Building and its egglike, contained quality. A flight of golden stairs leads to a landing flanked by ionic columns bearing up a triangular pediment. The entrance at the foot of the stairs is barred by a golden swag rope, for the Treasury is closed. But between the columns, we catch a glimpse of someone inside. The egg separates in the middle. Lift off the top, and there's Uncle Scrooge luxuriating in a tub of gold coins. His body is silver; indeed, the whole sculpture is sterling silver - 92.5 percent pure. To show this, the rim is stamped with the standard mark of a lion pass ant. It also bears the emblem of Theo Faberge (TF), the mark of the assay office (an anchor denoting Birmingham), and a letter symbolizing the year it was made.

You'll need a magnifying glass to see that, and to appreciate the detailing on the figure. Scrooge's coatis enameled in red; his collar, cuffs, and spats are gray. His crown is plated in 24-karat gold, as are his beak, cane, tub, and the coins around him; different colors of gold give each a different luster. His body, textured to resemble feathers, is lacquered to prevent tarnish, while the urn behind him has intentionally been oxidized to a rich green, then protected with lacquer. Surrounding him are two amethysts, two sapphires, and seven rubies - that's counting the stones that adorn the Imperial crown and the Sumerian one. No expense has been spared to make this egg a treasure-house in miniature. And in the tradition of the nicest Easter eggs, there's a second surprise, a treasure within the treasure. Push back the rim of the urn, and you'll find an extra cache of coins, ones the old miser has been saving for a rainy day.

The Scrooge McDuck Midnight Egg is made in London and limited worldwide to an edition of 250 individually numbered pieces. Each is etched on the bottom with Theo Faberge's signature and the edition number. Barks' signature, appropriately, is engraved on the base of the silver insert. In addition, the egg comes with a certificate of authenticity signed by both artists. Egg and certificate are housed in a custom carrying case, made especially for the St. Petersburg Collection. Gold fabric and brass fittings outside hint at the riches within, while the lining of white velvet provides an elegant setting for displaying your treasure. Recently the great Love Trophy Egg by Carl Faberge sold at auction for $3.19 million. For considerably less, you can own a piece of the Faberge tradition at a price that Uncle Scrooge himself would approve. His egg will be your nest egg, a treasure of beauty and subtle humor to cherish in the coming years.
The Uncle Scrooge Midnight Egg will never again be produced as an Egg and all studio molds have been destroyed or defaced upon completion of this limited edition. This Egg was licensed to The Bruce Hamilton Company by the Walt Disney Company to be released under the imprint of Another Rainbow, Inc.'

PLEASE NOTE: Although the edition was originally limited to 100 pieces…..there are, in actuality, only 73 in existence!Click on the following link to get the whole story on what happened to the other 27 sculptures!!!

Posted on 03/08/2003 7:57:15 AM PST by yankeedame

I’ve never quite understood the psychology of capitalist bashers. I’ve seen the images of young WTO demonstrators shattering Starbucks windows while wearing Levis and Adidas, drinking Pepsi and coordinating their protests on cell phones. Who do they think will create their favorite goodies if not capitalists? Bureaucrats? Psychic channelers? The People’s Natural Altruistic Collective Manufacturing Co-op and Poetry Center of Berkeley, California?

And then there are those economic pundits with a tray of Scrabble tiles lined up behind their names who characterize the collapse of Enron as “a failure of capitalism.” But Enron is not capitalism and capitalism is not Enron.

Maybe all those people learned their economics by burrowing their heads deep into Karl Marx. Or John Maynard Keynes. Some people are just too intellectual for their own good. I learned about capitalism long before I’d ever heard of “the free market” or “libertarianism”. I learned everything I ever needed to know in my youth, with my head burrowed deep under the bedcovers, reading Scrooge McDuck comic books by flashlight. (That was before I discovered Playboy, of course, which would have made this a bunny tail rather than a Duck Tale.)

As faltering memory permits, it was the 1950s and the particular storyline in mind went something like this:

Donald and his nephews are hoeing weeds in a vegetable garden on Unka Scrooge’s farm. They look up to see a tornado wrap itself around their rich uncle’s money bin, towering above the skyline of Duckburg. In seconds, it lifts the building into the air, splits it asunder and rains old McDuck’s obsquamatillion (that’s right, obsquamatillion) dollars onto the citizens below.

(For non-McDuckians, the “Richest Duck in the World” doesn’t trust banks. He keeps all of his money – in the form of coins and bills – in a windowless three cubic acre money bin/skyscraper where he can dive, swim, and otherwise cavort in it, delighting in its tangible as well as its fungible attributes.)

“I’m rich,” people cry as the twister rains moola down upon them. “I’ll never have to work again!” Donald and his nephews, natch, abandon the vegetable patch to pursue their own share of the manna.

“Humbug,” mutters Scrooge, who keeps on hoeing. “They’ll be back.”

People abandon their jobs and rush off to spend their newfound fortunes. One dashes down to a showroom to buy a snazzy new car. “I don’t have to sell cars anymore,” cries the salesman. “I’m rich!”

Others line up at the train station to go on their dream vacations. (Well, it’s the 50s, remember.) But the trains aren’t running. And why should they be? The crews are rich. They don’t have to work.

“Humbug,” mutters Scrooge, who keeps on hoeing.

Soon the grocery stores are empty and people are wandering the streets with millions of McDuck bucks in their pockets and dazed looks on their faces. Donald and the boys stumble back to the farm, hungry and disillusioned, and take up their abandoned hoes.

Then a rumor races through the crowd. “There’s a farm on the edge of Duckburg that’s still growing food!”

“Get ready,” Scrooge warns his nephews.

Hundreds of people line up at the farm, money clenched in their three-fingered cartoon fists, standing in front of signs that proclaim (in 1950s dollars) “watermelons $100 ea,” “Carrots $75 per bunch,” “Eggs 1 dz. @ $50 ea.” (How many remember that’s what the @ symbol used to mean?)

Eventually, all returns to normal. The people of Duckburg go back to work and Scrooge’s money bin is rebuilt, stuffed once again with his obsquamatillion in cash.

And that, after all, is the moral of the Duck Tale. Value resides in productiveness, not in legal tender. Enron was not a failure of capitalism. Enron, as Duckburgians learned, was a failure of greed and corruption, and capitalism did precisely what capitalism is supposed to do – it succeeded admirably in punishing greed and corruption with bankruptcy.

Yes, it’s a shame that all the Enron worker-ducks were punished along with the big ducks in the big puddle, but that’s yet another lesson: don’t put all your retirement duck eggs in one corporate money bin. Even the irascible McDuck had a productive farm to fall back on.

For simple, readable, easy to understand examples of how the capitalist system actually works (as opposed to how Marx and Keynes claim it works) libertarians laud “Economics in One Lesson” by Henry Hazlitt. For my money, though, you can’t beat “Capitalism in One Comic Strip” by Scrooge McDuck.

- by Garry Reed

Published 15 October 2002

EconomicsinOneLesson by HenryHazlitt
EconomicsinOneLesson by HenryHazlitt. This book is a fantastic
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Lego Scrooge Mcduck

OK. I did not write that, so it must be one of you two masquerading as the above author?

Righteous indignation is a virtue; but indignation expressed in envy, maliciousness (or both) lies somewhere between vice and vicious.

Source -- Aristotle's Nichomachean Ethics.

A lesson that is not lost on hypocrites at the DNC like head rat Terry McAwful (who turned $100k into $18million in personal wealth).

They seek to motivate a political base by pitting people against one another (and tell them that the only one gets rich is by exploiting others).

Such fears are understandable when reading essays that discuss economics and Uncle Scrooge comics. Partly because of this Marxist propaganda book: 'How to Read Donald Duck: Imperialist Ideology in the Disney Comic' (Ariel Dorfman, Armand Mattelart, David Kunzle)

I even found this course, which while seemingly 'exhaustive' (or all encompassing) in it's coverage, still seems to give credence to the Marxist book above just by its inclusion in the course discussion (and title):

ENG 4953 Senior Seminar

Professor Donald Ault

Spring, 2001

Required Texts:

Course Pack, 3 Volumes, available from Xerographic Copy Center, 927 NW 13th Street

How Wealthy Is Scrooge Mcduck

The Comics Journal #227 (Carl Barks Memorial Issue)

This course will focus on an analysis of the entire corpus of writer/artist Carl Barks (1901-2000) and its complex relation to, among other things, the 'mythology' and 'commodity fetish' aspects of the Disney empire: in Donald Duck animated cartoons (1936-44), comic books (Donald Duck, Uncle Scrooge, Walt Disney’s Comics and Stories, 1942-73), oil paintings (1970-97), television shows (Duck Tales, 1987-90), and merchandise (1981-2000). The course will also address the way in which Barks’s most famous creation—Uncle Scrooge McDuck—has been rewritten in the past fifteen years by writer/artist Don Rosa in an attempt to totalize Scrooge’s 'history' into one seamless story. The course will focus primarily on the analysis of Barks’ visual narrative techniques and their relation to, and subversion of, the theoretical concerns, primarily, of Marxist and Lacanian methodologies. The course will study in depth both the original materials Barks produced (available in the complete Carl Barks Library on reserve and the course pack) and on important and influential studies of his work, including Dorfman and Mattelart’s How to read Donald Duck: Imperialist Ideology in the Disney Comic (translated by David Kunzle) and Marovelli, Paolini, and Saccamano’s Introduction to Donald Duck: Social Phenomenology in the Comics of Carl Barks (translated by John Van Hook), as well as numerous essays by Wagner, Kunzle, Bergquist, Barker, Ault, and others.

One aspect of the course will address the way Dorfman and Mattelart de-materialize labor in at least one important sense by assigning primary (even exclusive) production of Donald Duck comics to an abstract force called 'Disney,' and the ways, in contrast, that critics of Dorfman and Mattelart=s work have, for the most part, attempted to relocate the authentic source of production of the comics solely at the level of the individual artistry of Carl Barks. Both of these approaches fundamentally miss the essential intersection of (what seems to be) the individual artistic source of the comics and the utter dependence of the comics for success not only on the global distribution and instant recognizability of Disney characters, but also on an audience that is open to consuming the forms of narrative the Disney comics provided. We will analyze these tendencies through the categories of the ideology of homogeneous style, the ideology of homogenous origin, the ideology of inconsequential difference, and the counter-ideology of least difference.

We will also approach Barks’s work and its relation to Marxist theory and through (unstable) categories such as the Imaginary, the Symbolic, and the Real as developed by French psychoanalyst Jacques Lacan (including rewritings of Lacan in film theory).

We will be viewing video projections of animated cartoons and comic book pages, covers, and related images.

Some examples of possible writing assignments include:

1. Analysis of the differences between the articulation of Disney’s Duck characters in the animation shorts and the comic book stories of Carl Barks: for example, what different possibilities of personality or plot structure are exploited in each?

2. Analysis of the differences between Barks’s development of the Ducks in the short 10-page stories in Walt Disney’s Comics and Stories and in the long Donald Duck and Uncle Scrooge adventures.

3. Analyze the differences between Barks’s creation of a character and plot structure that allowed for vast discrepancies from story to story and Don Rosa’s later attempts to integrate Barks’s Scrooge plots into a coherent 'myth' in The Life and Times of Scrooge McDuck.

4. Analysis of the differences between Barks’s articulation of his characters (especially Uncle Scrooge) in comic book stories 'The Land of Tralla La,' 'Back to the Klondike,' and 'Land Beneath the Ground' and the Duck Tales reconstruction of these stories for television animation.

5. Analysis of how the cutting up of the comic book page is related to Lacan’s categories of the Imaginary, the Symbolic, and the Real, and/or to the way time and space operate in the visual narrative of Barks’s comic book stories.

6. Analysis of the visual layout of the page, including the visual roles of the verbal aspects of the page, with special attention to oppositions (vector/directional forces, etc.).

Scrooge Mcduck Money Clip

7. Analysis of aspects of the comic page such as:

the relations between the verbal and visual aspects of the page; the relations between these visual/verbal features and what the plot seems to be 'about' in terms of conventional narrative and political/economic/psychoanalytic content; how all of these features exist in terms of oppositions, contradictions, or contradictory forces, both within the layout and between the layout and the plot; the extent to which these contradictions (both in form and content) are resolved or not resolved on the page and in the story as a 'whole' (the structure of oppositions on the page may not coincide with the structure of oppositions in the plot as a 'whole').

Requirements: Short essays, active seminar participation, and a final paper/project.

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Scrooge Mcduck Money Bin

Uncle Scrooge Money Bin