Shhhh…. We are having a top secret performance of Cartoon Dump this month. Why top secret? Because the date was shifted around with little to no publicity. So we expect a small turn out this month.
We used to be every fourth Tuesday of each month, but starting in 2010 we are moving to fourth Mondays. As for our remaining dates in 2009: In October, we are on this Wednesday (10/21) at 8pm; In November we perform the fourth Monday (11/23); and in December (our Xmas party) we’ll party on the third Monday, Dec. 21st.
This month, Cartoon Dump stars MST3K’s Frank Conniff (TV’s Frank) and J. Elvis Weinstein (Dr. Erhardt & the original Tom Servo), Erica Doering and special guest star comedian Jay London. It’s Wednesday night 8pm at The Steve Allen Theatre in Hollywood. Comedy! Songs! Puppets! Magic! And God-awful cartoons from the wasteland of 50s and 60s Saturday morning television! Advanced tickets click here.
I’m not going to post on every oddball piece of merchandising Disney is doing these days – and this one isn’t particularly oddball – but I thought it was worth a note.
The premise of The Princess and the Frog lends itself to new merchandising opportunities within the black community and the company has now reached out to the black-owned Carol’s Daughter to create a new line of limited edition grooming merchandise aimed directly at black consumers. The Magical Beauty Collection, features Princess Tiana Hair Detangler, Bubble Bath, Shampoo and Conditioner products. For more information, the Afrobella blog has posted an interview with Carol’s Daughter president Lisa Price.
I admit it, this one has me stumped. Don Martin, Antonio Prohias, Al Jafee, Mort Drucker and Dave Berg – adapted to animation! How did I miss this? Did it ever air? If so, what network?
It was co-directed by Chris Ishii, Jimmy Murakami and Gordon Bellamy. You can hear Allan Swift and Len Maxwell on the soundtrack. There are some New York animation veterans, such as Johnny Gent and Cosmo Anzilotti, as well as many Hollywood freelancers, including Gerard Baldwin and Bud Luckey, listed in the end credits. Perhaps my friends Mark Kausler and David Brain (who are also credited) can send us some info on this in the comments section below.
It’s been uploaded in three parts. Start here:
UPDATE: MAD’s Maddest Writer, Dick DeBartolo wrote to JJ Sedelmaier about the special. Quote: “We had a copy of that show up in the office, but I haven’t seen it in years. It never aired. That was the pilot. Nobody wanted to sponsor a show that made fun of products that were advertised on TV, like car manufacturers.”
The Three Caballeros will always hold a place in my heart. As a child of the 1960s and early 70s, at a time when my class mates were experimenting with mind-altering drugs, I was getting my high off screenings of early 30s Fleischer cartoons and Disney’s South American psychedelics. Is there anything trippier than the last 45 minutes of The Three Caballeros or the Blame It On The Samba sequence in Melody Time? I’ve always wondered what the thinking was behind these films and now, finally, I have all the answers.
J.B. Kaufman’s new book, South of the Border with Disney should be a permanent addition to your Disney or animation history bookshelf. It goes way beyond the basic information of Disney’s South American tour, as outlined in Ted Thomas’ recent film Walt and El Grupo. Thomas’ film was concerned with the trip, Kaufman’s focus is on the films. J.B. covers El Grupo’s tour more throughly and, more importantly, follows through to discuss each film that resulted from that initial trip, a complete examination from development to end product – from Saludos Amigos (1943) to Destino (2003).
The book explains things I had always wondered about (for example, why Saludos Amigos was also released under the title Saludos; or why Panchito was never used on screen again), and reveals new facts I had no idea of (such as definitive information on all the unfinished shorts and aborted feature concepts; and that half of the live action footage used in Saludos Amigos was actually shot in Burbank, months after the trip to South America). Kaufman (who has emerged alongside Canemaker and Barrier as a leading Disney historian) discusses in depth and in detail, not only the well known features and shorts, but the more obscure nontheatrical health films and rarely seen documentaries Disney made primarily for the Latin America markets. You will not find this information anywhere else.
The appendix includes a complete filmography, a discography and information on related South America themed Disney comic books. It’s not an “art book” per se, but there are ample color illustrations from the Disney Archive to illustrate the text, and overall a high quality job in all printing aspects. For me, this is the animation book of the year. A great read, and I highly recommend it.
Above, that’s an actual pencil from the Fleischer studio in Miami. It’s one of the many marvelous fun artifacts animator J.J. Sedelmaier is beginning to post on his Facebook page. Below is a pegbar and J.J. has been challenging his friends to guess what studio it’s from (Click on the image for the answer).
Talk about your Cartoon Brew: A new Australian beer campaign has co-opted Disney’s Snow White and renamed her Ho White — and the seven dwarves are now Randy, Filthy, Ugly, Freaky, Dodgy, Dirty and Smarmy. The initial ad features Ho White wearing a negligee, in bed with the naughty dwarves, blowing smoke rings. The concept was created by The Foundry for Jamieson Brewery.
The Paris-Tokyo-Shanghai AOKI studio created this mix of 3D character animation and live action as a pilot for a new kids series. The lead character is a bit obnoxious, but I found myself unable to look away.
This is not the ugliest kids show I’ve ever seen – but it comes darn close.
Found among the 1,050 look-alike cartoon shows offered at last week’s annual children’s TV market, MIP Junior, was this one: Twisted Whiskers, a co-production of American Greetings, Moonscoop Productions and DQ Entertainment.
The project’s entire pitchbook / powerpoint presentation is online, and you can see for yourself how “wacky, quirky, irreverent and attitudinal” these characters are. (Click thumbnails below to see images from the pitch book). I just can’t get past the eyes. They’re creeping me out, man.
To be fair, the development art — backgrounds and pencil sketches — in this PDF look good. Bill Kopp and Savage Steve Holland (Eek! the Cat) are attached to the show, and have already directed a series of nine 40-second web-shorts that try their best to make a silk purse from a sow’s ear – but why do these characters have to look so goddam creepy:
According to the seller, “Felix the Cat (comic, strip AND animation) was created on this very table (I have no actual proof of this, though times/dates/people involved would point this towards the truth). This table was also used by Famous artists Joseph “Joe” Oriolo and Otto Messmer (as evidenced by notes on the animation disc’s backside.)”
Hmmm… maybe Casper the Friendly Ghost was created on this desk too. The seller certainly sounds “friendly”. Bid on it here.