
Citing that material contained therein constituted “clearly piratical copies” of registered and recorded copyrights, a shipment of comics bound for Top Shelf has been seized by US Customs in Charleston, SC. The books in question are copies of the
Stripburger anthology containing the stories “Richie Bush” by Peter Kuper, and “Moj Stub” (“My Pole”) by Bojan Redzic. Top Shelf has asked the Comic Book Legal Defense Fund to look in to the matter, and as a result, the CBLDF has retained counsel to challenge the seizures.
According to the CBLDF: "Richie Bush," appearing in Stripburger (Vol. 12) #37, is a four-page parody of Richie Rich that also satirizes the Bush Administration by superimposing the personalities of the President's cabinet on the characters from the comic. "My Pole," appearing in Stripburger (Vol.3) # 4-5, which was published in 1994, is an eight-page ecology parable in Serbian that makes visual homage to Snoopy, Charlie Brown, and Woodstock in three panels. Customs seized five copies of the issue with the Peanuts reference and fourteen copies of the issue containing "Richie Bush." The stories were both published in the middle of their respective issues and no graphics from either story appeared on the covers.
“It’s an interesting thing – I take over as President of the Fund’s Board, and am ready to defend everyone else, and something like this comes along that falls right in my lap as Top Shelf,” said Top Shelf Publisher Chris Staros. “It’s very unusual, but at least I knew who to call.”
The path of the
Stripburger books being seized is a little circuitous, but is based in Top Shelf acting as the Eastern European publisher’s American agent. “Every year they put out a major release, like
Stripburger, Warburger, Madburger, or
Miniburger,” Staros explained. “Their newest release,
The Miniburger Dirty Dozen, which is the boxed set of minicomics, we were importing from them to solicit through Diamond and sell at conventions for them. And usually, when they ship a pallet of books to us, they'll throw in a miscellaneous box or two of their oversized soft cover anthology,
Stripburger. Generally, they’ll send like ten copies of each, just so we have a few to sell at conventions.

“We import a bunch of stuff, from
Actus in Israel to
Oog & Blik in The Netherlands, and even though we’ve never had a shipment detained by customs before, I wasn't immediately alarmed when I heard our shipment had been detained. I just figured that Customs was searching the entire sea container that our pallet was in for pests or some such. In any event, after a two or three week delay, I finally called our customs broker to ask what the problem was, and she told me that our specific pallet was being searched. That's when I started to get a little nervous.
“About a week later, on October 27th, I received a formal letter from Customs announcing that two issues of the anthology
Stripburger had been seized,” Staros continued. “In the letter, they accused the two issues of being ‘piratical works’ of Richie Rich and Peanuts, and that if we wanted to protest the seizure we had to respond to them formally within thirty days. I knew what was in the
Miniburger boxed set, because I had already seen an advance copy of it, so I knew their seizure couldn't have been related to the main body of the shipment. So, I immediately emailed the people at
Stripburger and found out that they had also sent along a couple issues of
Stripburger that had a Peter Kuper ‘Richie Bush’ story in it, and another story that had a couple of Peanuts cameos. -- By the way, the Flash-animated version of the printed ‘Richie Bush’ story can be seen on the web at Peter Kuper's
www.RichieBush.com. -- Eventually, the
Miniburgers were released to us, but the
Stripburgers were firmly in Customs hands.”
Stripburger asked if the CBLDF might get involved to write an article about this, so Staros asked Stripburger to send him a copy of the two anthologies that were seized so that he could see what was in them. “As soon as I received them and had a chance to look at both of the stories, I realized instantly that they were obvious instances of parody and fair use, and it seemed very odd to me that customs would get involved with something like this.
“I then got Charles Brownstein [Executive Director, CBLDF] involved, and he in turn got Burton Joseph, the Fund's legal counsel, to give us a legal opinion on the issue. He definitely felt that these stories were protected under the First Amendment, so we presented the details to the CBLDF Board, and they voted unanimously that we take on the case. I was the only person who didn’t vote, as I recused myself since I brought the case to the Board. We then retained local counsel in South Carolina, and filed all the paperwork to legally protest the seizure. If Customs doesn't change their mind and release the materials to us now, we'll end up in court.”

According to Staros, customs seized five of the issues that contained the Peanuts cameos and 14 that contained the Richie Bush short story. As mentioned earlier, the cover artwork of the volumes was not related to either of the stories in question. “In addition, the Richie Bush story was a four-pager, and in the eight-page piece with the Peanuts cameos, Snoopy appears in two panels, Charlie Brown in one, Woodstock appears in another, and this second story is in a foreign language,” Staros said.
Brownstein explained the Fund’s view of the works. “Both ‘Richie Bush,’ and ‘My Pole’ are uses of parody,” Brownstein explained. "’Richie Bush’" pokes fun at Richie Rich, creating new meaning of ‘Poor Little Rich Boy.’ Through this use of parody, Kuper also creates a potent political satire that is perfectly in line with what political cartoonists across the country did when they depicted Bush as resembling Alfred E. Neuman.
"’My Pole’" is a very subtle use of parody. The story isn't in English, so if you're judging it on its visual merit alone it is poking fun at Peanuts by putting the characters in an unfamiliar milieu. The parody here strikes me as being very similar to cameo parodies that you see all the time in shows like
The Simpsons, Family Guy, and
Drawn Together. Art, particularly humor and parody, is very self-referential and this strip is no exception. The three panels in this ten year old strip that reference Peanuts do not constitute piracy of Schulz's strip any more than last week's episode of
Drawn Together depicting Charlie Brown being led around on all fours does. Both instances gently parodied the characters by briefly placing them in unfamiliar milieus for satirical effect.”
Given the explanations of the works, as well as the fact that neither appeared on the covers of their respective volumes, Staros said he still can’t understand Customs’ classification of the stories as “piratical.” “It's Customs job to look for explosives, pirated goods, infestations, etc., and it is expected that they would do random checks,” Staros said. “But in this case, calling an anthology pirated is really strange. Piracy is when someone manufactures something like bootleg CDs or DVDs and passes them off as the original. And since nothing of that kind was done here, the seizure doesn't make any sense.

“This country has always been extremely protective of freedom of the press and the importation of all kinds of published materials. Canada and England stop a lot of things at their borders, based on … basically the tastes of the customs officers, where they become the literary police. I find that extremely distasteful – that customs would be the arbiters of taste. And since this is the first time I’ve seen something like this, especially on my watch at the Fund, it's definitely something worth a fight.
“This seizure is a precedent-setting event, even if they only seized a handful of books in this case. Because if it was a huge publishing run printed overseas and published by Fantagraphics or Drawn & Quarterly, per se, and it was seized for the same reasons, it could literally put the publisher out of business if the books couldn't be brought to market. Therefore, this is an important issue for the Fund -- to fight it now before it impacts the industry on a larger scale in the future.”
As for the next step? “Like most matters of law, it's a lot of waiting,” Brownstein said. “Our attorney hand-delivered the letter requesting that the comics be released or court action initiated on November 24. Now we need to wait for Customs to do one thing or the other. I'm hopeful that Customs will recognize that the works are clearly protected by the First Amendment, and respect the case law demonstrating that by promptly returning the books. But if not, we are prepared to go to court.
“It's the principle that matters in this case,” Brownstein continued. “U.S. Customs does not exist to act as the parody police. They police actual piracy, but anyone viewing these comics can clearly see that these comics are not representing themselves as copies of the real thing. They are poking fun at the real thing, an exercise of the rights the First Amendment affords parodists and satirists. It's a very slippery slope for Customs to start deciding what non-obscene literature can and can't come into the country, and it's something we want to see stopped, and stopped right now.”