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Posts Tagged ‘Animation

“In the circus, all is possible”*…

 

2018_04-Fall_Circus_32_0

Think, for a moment, of how circuses used to be. Each summer, eye doctors and dentists, and the old farmers at church, would cheerfully distribute tickets to children as the circus drew near. And something in their enthusiasm was contagious. The air seemed charged, the entire town electric, as though set in a kind of time outside of time. Townsfolk would make unnecessary detours to drive by the fairgrounds, watching the circus trucks unload. We could see the tension being cranked into the guy wires, a worker testing the cable with a calloused thumb and sending out a metallic thrum, as though to say: The circus! The circus is here! The circus has come to town!

And then the tattered, patched tents, faded from years of hard sun. A diesel generator rattling behind the stands. A grim woman selling lipstick-red candy apples, her face like a half-remembered photo on a post office wall. A large fan by an open tent flap to fight the swelter, only adding noise without moving air. The lions panting in a cage near one of the side rings. A clown directing five dogs so old that the audience would wince each time a dog leapt through a hoop.

The familiar had not gone away, exactly. In the summer heat, people would fan themselves with anything handy: a paper popcorn tub torn open, a folded church bulletin scrounged from a purse, even ticket stubs splayed like playing cards. But the unfamiliar had also taken hold, like the ordinary-looking woman in the side ring who suddenly proved a contortionist, wrapping her legs behind her head. The high-wire act held us rapt as the performers risked their falls. A small protest would escape the crowd as the lion tamer put his head in the mouth of a beast. The clowns didn’t make us laugh, exactly, but they made us smile. A plumed woman posing on the back of a prancing horse. The ringmaster in his top hat and red coat, white jodhpurs and black boots, directing our eyes to each new act with a flick of his baton.

Through it all, the strange compound scent of a circus would waft, reminding us of something not quite present— superimposing on this circus all the circuses that have ever been…

More at “The American circus in all its glory.”  And see The Circus, an American Experience documentary on PBS.

* Fernando Botero

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As we watch in wonder, we might recall that it was on this date in 1941 that Walt Disney’s story of a young circus elephant who discovers that he can fly– Dumbo— premiered.  Produced simply and to a short (64 minute) length, it was a calculated effort by Disney to recoup losses he’d suffered on Fantasia; his gamble paid off: despite the advent of World War II, Dumbo was Disney’s highest-grossing film of the 1940s.

220px-Dumbo-1941-poster source

 

Written by LW

October 23, 2018 at 8:04 am

“There will be time, there will be time”*…

 

Infinity-Time1

Poets often think of time as a river, a free-flowing stream that carries us from the radiant morning of birth to the golden twilight of old age. It is the span that separates the delicate bud of spring from the lush flower of summer.

Physicists think of time in somewhat more practical terms. For them, time is a means of measuring change—an endless series of instants that, strung together like beads, turn an uncertain future into the present and the present into a definite past. The very concept of time allows researchers to calculate when a comet will round the sun or how a signal traverses a silicon chip. Each step in time provides a peek at the evolution of nature’s myriad phenomena.

In other words, time is a tool. In fact, it was the first scientific tool. Time can now be sliced into slivers as thin as one ten-trillionth of a second. But what is being sliced? Unlike mass and distance, time cannot be perceived by our physical senses. We don’t see, hear, smell, touch, or taste time. And yet we somehow measure it. As a cadre of theorists attempt to extend and refine the general theory of relativity, Einstein’s momentous law of gravitation, they have a problem with time. A big problem…

The crisis inside the physics of time: “Is It Time to Get Rid of Time?

See also: “Forget everything you know about time.”

[image above: source]

* T. S. Eliot

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As we check our watches, we might say a grateful Happy Birthday to Winsor McCay, the cartoonist and animator, who was born on this date in 1867.  His two best-known creations are the pioneering comic strip Little Nemo in Slumberland, which ran from 1905 to 1914, and the animated cartoon Gertie the Dinosaur (1914),which set the standard for animators for decades to come.

Little Nemo… for a more legible image, click here

 

Written by LW

September 26, 2018 at 1:01 am

“There’s no business like show business”*…

 

entertainers

I’m on my first-ever cruise because I wanted to see how the entertainment world’s 99 percent, as Bernie Sanders might say, work for a living. The comedians who don’t film HBO specials; the magicians who aren’t David Blaine; the variety acts who don’t just disappear after their fifteen seconds on America’s Got Talent. These entertainers are struggling to compete with everything from YouTube phenoms to Netflix and Spotify. In Vegas and Times Square, small clubs and homegrown acts are getting squeezed out by arenas, superstars, and global brands, like mom-and-pop shops bulldozed by Walmarts.

But maybe smaller acts aren’t dying. Maybe they’ve just gone on vacation, since cruises need entertainers now more than ever. The $38 billion cruise industry has boomed with Boomers, growing from 17.8 million passengers in 2010 to 25.8 million passengers in 2017. The Regal Princess is one of more than four hundred fifty active cruise ships, and each is a floating entertainment district. It typically employs a six-piece party band; a seven-piece house band; a jazz quintet; a DJ; a piano-bar lounge singer; and seventeen singer-dancers who rotate through stage shows, including two created exclusively for Princess by Wicked’s Stephen Schwartz. (Other lines feature partnerships with outfits like Cirque du Soleil, Second City, and Blue Note Records.) Last year, Kaler and his team booked four hundred sixty-eight different headliners, from “a cappella” to “xylophonist.”…

Welcome to the new vaudeville circuit, where live entertainment hasn’t died—it’s just gone to sea: “Inside the delightfully quirky, absolutely fabulous, and utterly exhausting world of cruise performers.”

* Irving Berlin

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As we enjoy the show, we might recall that it was on this date that Universal released “Trolley Trouble” from Walt Disney Studios.  The first Disney cartoon to spawn a series, it featured Oswald the Lucky Rabbit (the creation of Walt’s long-time collaborator Ub Iwerks).  Oswald featured in 27 successful animated shorts– but Disney lost the rights to Universal.  So, he and Iwerks created a new featured character, Mickey Mouse.

 

 

Written by LW

September 5, 2018 at 1:01 am

“Everything has beauty, but not everyone sees it”*…

 

 

Keat urn

A tracing of an engraving of the Sosibios vase by John Keats

 

At least as far back as the ancient Greeks, poets and philosophers have struggled to define the nature of beauty. More recently—that is, for the past 150 years—psychologists have joined the effort to discover why we find certain sounds and images aesthetically appealing.

Answers remain elusive, and a new analysis in the journal Current Biology helps explain why. It finds some preferences—including our inclination to favor curves over angles—appear to be universal.

However, New York University psychologists Aenne Brielmann and Denis Pelli report that individual differences “outweigh general tendencies in most aesthetic judgments. Even for faces, which are popularly supposed to be consistently judged, individual taste accounts for about half the variance in attractiveness ratings.”

To a large extent, beauty really does seem to be in the eye—and brain—of the beholder…

A new analysis finds a few widely shared aesthetic preferences, and a whole lot of individual and cultural variation: “Beauty is, mostly, in the eye of the beholder.”

* Confucius

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As we examine the exquisite, we might send intricately beautiful birthday greetings to Jan Švankmajer; he was born on this date in 1934.  A self-proclaimed surrealist artist who has worked in many media, he is best known as a filmmaker, more specifically, as a stop-motion animator whose works have influenced Terry Gilliam, the Brothers Quay, and many others.

Here, an example of his work:

 

Written by LW

September 4, 2018 at 1:01 am

“I went to the bank and asked to borrow a cup of money. They said, ‘What for?’ I said, ‘I’m going to buy some sugar.”*…

 

 

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Sugar is sprinkled everywhere in our language. When children are good and happy, they are cutie pies. Cool stuff can be “sweet, man.” Our crush is a sweetheart, and our sweetheart might be our honey. “A spoonful of sugar,” as Mary Poppins croons, is a bribe, something to help “the medicine go down.” Sugar is leisure and celebration — what British birthday would be complete without the stickiness of cake frosting on fingers? It is, according to Roland Barthes, an attitude — as integral to the concept of Americanness as wine is to Frenchness. In the 1958 hit song “Sugartime,” to which Barthes was referring, the sunny, smiling McGuire Sisters harmonize sweetly, filling their mouths with honey: “Sugar in the mornin’ / Sugar in the evenin’ / Sugar at suppertime / Be my little sugar / And love me all the time.”

And like anything pleasurable, sugar is often characterized as a vice. The flood of industrial sugar into packaged food has real public health consequences, but predictably, the backlash has taken on a puritanical zeal far beyond reasonable concerns. Sugar is “America’s drug of choice,” one headline claimed. “Is sugar the world’s most popular drug?” wondered another. Even those selling sugary food winkingly parrot the language of addiction — consider Milk Bar’s notoriously sticky, seductively sweet Crack Pie. A drug that decimated predominantly poor, black American communities is now a punchline for middle-class white indulgence.

For black Americans, sweetness was an essential ingredient in Jim Crow-era stereotypes designed to keep newly emancipated people from their rights. Those stereotypes persist — and even generate profit — today…

Sugar is survival. It is a respite for palates swept clean of childish joy for too long. It is sexual desire and pleasure, and also temptation and sin. And it is a commodity, one historically produced with some of the most brutal labor practices on the planet. In the Western imagination, sugar is pleasure, temptation, and vice — and in modern history, it is original sin…

How a taste for sweetness, developed for survival, became a stand-in for everything good — and evil — about our culture: “Sugartime.”

* Steven Wright

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As turn to the tart, we might send bodacious birthday greetings to that most fabulous of flappers, Betty Boop; she made her first appearance on this date in 1930.  The creation of animator Max Fleischer, she debuted in “Dizzy Dishes” (in which, still unevolved as a character, she is drawn as an anthropomorphic female dog).

 

Written by LW

August 9, 2018 at 1:01 am

“Art is not what you see, but what you make others see”*…

 

Mason Williams recalls…

CLASSICAL GAS was written in August, 1967; recorded for THE MASON WILLIAMS PHONOGRAPH RECORD album in November, 1967; released as a single in February, 1968, and became a hit six months later in the Summer of 1968. It was also one of the earliest records that used a visual to help promote it on television, which probably qualifies it as one of the earliest music videos.

During the time that CLASSICAL GAS was a hit I was also the head writer for THE SMOTHERS BROTHERS COMEDY HOUR on CBS. I had seen a film titled “GOD IS DOG SPELLED BACKWARDS” at The Encore, an off beat movie house in L.A. The film was a collection of approximately 2500 classical works of art, mostly paintings, that flashed by in three minutes. Each image lasted only two film frames, or twelve images a second! At the end of the film the viewer was pronounced “cultural” since they had just covered “3000 years of art in 3 minutes!”

The film was the work of a UCLA film student named Dan McLaughlin. I contacted Dan and told him that I was interested in the idea of using his film as a visual for CLASSICAL GAS to air on THE SMOTHERS BROTHERS COMEDY HOUR. (His original sound track had been Beethoven’s 5th Symphony.) THE COMEDY HOUR offered him the money to finance a new film he wanted to make in exchange for the right to change the original soundtrack from Beethoven’s 5th Symphony to CLASSICAL GAS and air it on the show. As a “music video” it was first shown on THE SUMMER BROTHERS SMOTHERS SHOW (Glen Campbell was the host) in the summer of 1968.

The impact of the film on television opened the door to realizations that the viewer’s mind could absorb this intense level of visual input. It was a double shot of a hundred proof music and video that polished the history of art off in three minutes! It was also the beginning of the fast images concept now called kinestasis (a rapidly-moving montage technique set to music) that has over the years been exploited so effectively by television commercials, documentaries, etc. As a result of the response to the CLASSICAL GAS music video, in September of 1968 I wrote up a piece for The Smothers Brothers Comedy Hour, projecting the idea that someday VJ’s would be playing hit tapes on TV, (as well as DJ’s hit records on radio), a prophesy of what was, 13 years later, to become MTV…

[Dan McLaughlin went on to become head of UCLA’s animation program.]

* Edgar Degas

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As we bathe in beauty, we might spare a thought for Robert Alexander “Bumps” Blackwell; he died on this date in 1985.  A bandleader, songwriter, arranger, and record producer,  he was probably most impactful in his work overseeing the early hits of Little Richard, as well as in grooming Ray Charles, Quincy Jones, Ernestine Anderson, Lloyd Price, Sam Cooke, Herb Alpert, Larry Williams, and Sly and the Family Stone at the starts of their recording careers.

Blackwell, seated, with Rich Hall (of FAME Studios in Muscle Shoals) and Little Richard

source

 

Written by LW

March 9, 2018 at 1:01 am

“I like physics, but I love cartoons”*…

 

 

On December 15, 2016, internet cartoonist Branson Reese made a pact to release a new comic every day at midnight, no matter what. One year later, he has done that, which is pretty cool. The only catch is his art is really freaking strange and I mean that in the best way possible…

Joey Cosco on why you should follow Branson Reese.

* Stephen Hawking

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As we look forward to our daily dose, we might recall that it was on this date in 1942 that Jack Mercer and his wife Margie voiced Popeye and Olive Oyl in the new Popeye cartoon, “Kickin” the Conga.

 source

 

Written by LW

January 4, 2018 at 1:01 am

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