“There is a contingent of the digital-effects community to whom that is the holy grail – to create photographically real humans. To me that is the dumbest goal that you could possibly have. What’s wonderful about the medium of animation isn’t recreating reality. It’s distilling it.” – Brad Bird, from a terrific article about Pixar printed in THE GUARDIAN.
Whatever happened to LIL’ PIMP?You know, the internet cartoon turned $13 million dollar feature length R-rated Flash animated feature for Revolution Studios and Columbia Pictures. I’ve often wondered if it will ever see the light of day? Come January 11th, 2005 my curiosity will be satiated. Lion’s Gate Home Entertainment will release LIL’ PIMP on dvd, at last, for all to enjoy.Bernie Mac, William Shatner and Lil’ Kim provide voices for this production which has been sitting on the shelf for months. I had a few good friends who were gainfully employed by this production for over a year – It has a disasterous production history, stories of preview screenings where audiences and executives walked out en masse, and the film was put into production several times without a script in place. Sounds like a trainwreck. Personally, I look forward to seeing it. Should be fun.
ASIFA-Hollywood has announced the three recipients for this year’s Winsor McCay Lifetime Achievement Award and they are Don Bluth, Virginia Davis and Arnold Stang. Now, Bluth, despite what I personally think of his filmmaking skills, has every right to this award. But the other two choices are extremely questionable, and in light of other potential recipients, downright irresponsible selections by ASIFA-Hollywood. The goal of the Winsor McCay Award, as stated in ASIFA-Hollywood’s own rules, is to recognize “lifetime contributions to the art of animation in producing, directing, animating, design, writing, voice acting, sound and sound effects, technical work, music, professional teaching, or for other endeavors which exhibit outstanding contributions to excellence in animation.”
Last year, I suggested an artist named Art Stevens, who was a forty-plus year veteran of Disney. I didn’t push for him again this year because as much as I’d like to see him honored, it’s not my job to make sure that happens. It’s the responsibility of the Winsor McCay Award Selection Committee (whoever the heck that comprises) to properly perform their duties and recognize the most appropriate people for the award. Which begs the question, how in the world did they ever arrive at Virginia Davis, whose contributions to this art form have been minimal to non-existent. Davis, for those who don’t know, was the four-year-old girl who portrayed the live-action Alice in Walt Disney’s early animated/live-action series “Alice in Cartoonland.” That may hold some minor historical significance for animation history buffs, but how has her work exhibited “outstanding contributions to excellence in animation?” Davis’s “animation career” lasted no longer than a couple years when she was four and five years old. Her contributions even during this time were not particularly unique; in fact, Alice was portrayed by at least two other actresses besides Davis in these early Disney shorts. The significance of the films lies in the fact that they are Walt Disney’s earliest works and show his development as an artist; nobody can seriously make a case that Virginia Davis’s contributions to those films helped animation develop as an art form. She was simply a little girl who happened to be at the right place at the right time.
Arnold Stang, though hardly as poor a choice as Davis, is also a questionable award recipient. Yes, he was the voice of Top Cat and Herman (in Paramount’s Herman & Katnip theatricals), but his contributions as a whole to the development of animation are hardly on the scale of other voice actors like Daws Butler, Mel Blanc or June Foray. Stang deserves some sort of recognition for having worked in so many different fields (animation, radio, TV, film), but his involvement with animation is relatively minor, at least when compared to other possible contenders like Art Stevens. Since ASIFA-Hollywood obviously has no intention of recognizing deserving talents like Stevens, let’s examine his career here on Cartoon Brew.
Stevens started at Disney in 1940 and retired in the early-’80s. That’s over forty years of uninterrupted service to the animation industry. In the Forties, he became one of John Lounsbery’s top animation assistants, before becoming a full-fledged animator on PETER PAN where he animated sequences with “The Lost Boys.” Immediately following this, Ward Kimball hand-picked him to join his unit. Stevens, along with Julius Svendsen, became Ward’s most trusted animators for the next twenty years. Stevens animated on MELODY and the Oscar-winning TOOT WHISTLE PLUNK & BOOM. He was responsible for animating the “strings” section as well as other sequences in the latter film. When Ward began producing the space specials, Stevens and Svendsen handled nearly all of the ‘cartoony’ animated sequences in those films. The underwater sequence in BEDKNOBS AND BROOMSTICKS and most of the character animation in the Oscar-winning IT’S TOUGH TO BE A BIRD, were also the handiwork of Stevens. His other animation credits include 101 DALMATIANS, WINNIE THE POOH AND THE BLUSTERY DAY and ROBIN HOOD. Stevens moved into the directorial post on THE RESCUERS (following Lounsbery’s mid-production death) and also served as director/producer on FOX AND THE HOUND before retiring from the studio. There’s dozens of other projects in between these, but perhaps Stevens’s most important contribution to animation was the style of animation that he and Svendsen developed in Kimball’s unit. Both of them were geniuses at figuring out how to selectively move body parts and creating hilarious animation cycles that took full advantage of the heavily stylized characters in Kimball’s films. To this day it remains some of the most perfectly realized and elegant examples of stylized (or ‘limited’) animation ever produced.
If Stevens doesn’t catch your fancy, I could name numerous other artists who have contributed heavily to the development of animation and who are still alive, awaiting recognition: Ed Friedman, Bob McIntosh, Paul Sommer, Bob Godfrey, Brad Case and Fred Crippen just to name a few. But hey man, it’s ASIFA-Hollywood’s Lifetime Achievement Award, and if bestowing it upon somebody whose only animated accomplishment is prancing around on camera when she was four-years-old is what ASIFA-Hollywood thinks is appropriate, then so be it. I guess next year, we can look forward to the organization honoring the Mexican actress who appeared with animated Droopy in the closing scene of Tex Avery’s SENOR DROOPY. After all, it’d hardly be appropriate if they honored somebody who actually worked in animation.
By now you know the drill: Each day I will ask one simple question. The first two people with correct answers (or what I think is the correct answer) to hit my email-box win. Today I have two prizes. The first place winner gets to choose his or her prize from the two.Today’s prizes are: THE TOM & JERRY SPOTLIGHT COLLECTION and the 99Â¢ Store Van Bueren TOM & JERRY collection. Today’s question (again courtesy of “Uncle Wayne”) is:
What do Speedy Alka-Seltzer and Ralph Phillips have in common?
The Contest is now OVER. Winners today were Jon Reeves and Bill Field. The Answer is: voice actor Dick Beals.
Going on sale January 18th 2005 is Tom and Jerry: Blast Off to Mars:
“Tom and Jerry mistakenly stow away on the first manned mission to Mars and discover we are NOT alone…Martians do exist! The furry duo must join forces with a young Martian girl to battle asteroid fields, the Martian invasion of Earth, and a gigantic alien robot bent on destroying anything and anyone in its path.”
Tom Minton produced it. Bill Kopp wrote and directed it. I hope Warner Bros. sends me a free copy.
The trailer for Pixar’s CARS is honestly one of the most perplexing pieces of animation I’ve seen in a long time. After the magnificent fleshy achievement of THE INCREDIBLES, a film that proved personality-filled character animation and CGI are not incompatible, why would the studio regress to producing a film about lumbering metallic forms. Let me be clear: I’m not opposed to the idea of animating cars. It’s actually an idea with terrific potential. But the boring animation of the cars in this particular trailer hardly takes advantage of the concept. Granted, the subtle movement of the race car shifting from side to side was a nice solution to compensate for the car’s lack of arms and legs, but the cars’ immobility had turned frustrating by trailer’s end. Do they expect anybody to sit through two hours of this? Where is the cartoon invention that Pixar is known for and has built their reputation upon? Did Pixar pull a Katzenberg and opt to create an animated film that doesn’t take advantage of the medium? Why do I have so many questions about a friggin’ trailer? My disappointment with this became more focused when I saw the comic strip below by Ward Kimball (click on it for full version).
The poses are pushed to the extreme, the expressions are full of life, the metal has beautiful twists and flexibility, and yet at no point does it lose believability as a car. That invention is the beauty of the cartoon medium and its primary strength over live-action; it’s also precisely what is lacking from the CARS trailer, particularly in the animation of the race cars. Perhaps the film is actually bursting at the seams with innovative solutions to car animation, and Pixar simply chose to reveal none of it in favor of creating the most boring trailer ever. At this point, that’s what I’m compelled to believe, because I have faith in the studio and in John Lasseter’s directorial skills (is the man even capable of producing something bad?). Here’s to hoping for the best.
One of the numerous interesting things about Brad Bird’s THE INCREDIBLES is that it’s a serious enough movie that it’s sparked thoughtful discussion of the things it has to say about child-rearing in America, competition, and how to treat kids who are naturally gifted. Here’s “When Every Child is Good Enough,” a story from today’s NEW YORK TIMES (registration probably required) that digs into these ideas.
Funny–I don’t remember SHREK 2 or SHARK TALE spurring thoughtful discussion of, well, anything at all…
Here’s how it works – Each day I have two prizes. I will ask one simple question. The first two people with correct answers (or what I think is the correct answer) to hit my email-box win.Today’s prize is: THE TOM & JERRY SPOTLIGHT COLLECTION. Today, both winners will get this dvd. Today’s question was provided by my Uncle Wayne:
Mel Blanc did voices for all the Hollywood cartoon studios, except one – or did he? How many Disney films did Mel Blanc work on?
The Contest is now OVER. The winners were Greg Laughland and Eric Wilson. The answer: One – In Pinocchio he recorded for Gideon the cat, but his part was cut down to a hiccup before its release.Brew reader “Herekittykitty” sent in an answer, which is technically correct, but not what I was thinking: Who Framed Roger Rabbit. I’m going to send this reader a special “no-prize” for her answer – a LOONEY TUNES Ultimate Sticker Book.
For months now, Scrappyland, my site for Scrappy appreciation, has been in preview mode. Folks sometimes ask me if I’ve forgotten or abandoned it.
Nope–I’ve been busy working on it, and it will eventually launch in all its full-blown glory. Soon, I hope. It’s my magnum opus, so it would be a shame if it stayed on my hard drive forever.
To prove I’m still toiling away, here’s a download (in PDF form) for Cartoon Brew readers: An eight-page 1936 publicity booklet for the Scrappy Puppet Theater, a Farina premium that Columbia promoted like it was the Second Coming. It includes promotion ideas such as organzing Scrappy window-decorating contests for local grocers, Scrappy poetry (“I’m a boy named Scrappy/Farina keeps me happy”), and a letter from our hero himself.
Enjoy. Or be mystified. Or maybe both–that’s par for the course when it comes to Scrappy-related matters. (Yes, that’s Scrappy waltzing with an anthropomorphic box of Farina on the cover…) And stay tuned for news on Scrappyland’s grand opening.
I’m back from NY. The last week of the trip was unbelievably nuts, including a final stretch of 36 hours without sleep. Upon arrival in LA, I was so jetlagged that I somehow managed to lock myself out of my apartment within minutes of getting home, and then had to call a locksmith to bust open my lock. The ultimate purpose of this trip, sleep-deprivation and all, was to gather research and artwork for my forthcoming book on Fifties animation design and in that respect the trip was a resounding success. There’s going to be some jaw-droppingly gorgeous animation art in this book and I can’t wait to share it with everybody. Mark your calenders folks – Spring 2006, Chronicle Books.
The NYC trip as a whole was an immensely enjoyable experience. The city has a vibe unlike anything I’ve experienced in LA and I was also quite impressed by the city’s thriving indie animation scene, which has enjoyed a major resurgence in the past few years. Here’s some of the highlights from my last few days in NYC: Breakfast with Mike Sporn and John Dilworth, two guys with an amazing knowledge of film that far surpasses mine. Coffee with Emily Hubley, daughter of John and Faith Hubley, not to mention a talented filmmaker in her own right (a retrospective of her work screens at Ocularis tomorrow evening). Breakfast with Ryan Sias, who did the boards and designs for the animated segment in BOWLING FOR COLUMBINE and also boarded on the upcoming Blue Sky feature ROBOTS. Check out his comics at RyanSias.com. Also, got some cool CDs and vinyl from Ryan’s brother who runs the up-and-coming record label Music Related. Met Eric Costello, creator of the indispensable Warner Bros. Cartoon Companion and had another fine meal with current Brew guest blogger Harry McCracken, who just happened to be visiting NY on business.
Visited with Pat Smith and friends (Olivia Ward and Tony Curanaj). Pat showed me his just completed film HANDSHAKE, an impressively animated dialogue-less short which recently won at the Northampton Film Festival. Also saw a terrific screening of NY indie animation at The Tank, which featured the premiere of Signe Baumane’s latest film, the laugh-out loud funny THE DENTIST. Met Jeremiah Dickey, PES and Sarah Phelps, among others. Huge props to Mike Sporn, John Canemaker and Mark Newgarden, as well as Carol and Ray Favata, Vincent Cafarelli and Candy Kugel. The last week would have been impossible without all of your kind help. I’ll definitely be back in NYC sooner than later. And now back to regular updates…
One of my little hobbies beyond (but related to) animated cartoons is collecting buttons of cartoon characters. Specifically, I like promotional buttons relating to animated features, TV shows and classic cartoon shorts. One of these days when I have some free time I’ll post a gallery of some of my favorites.In the meantime Mark Lansdown has posted a nifty website of his collection of vintage comic strip and cartoon character buttons which is quite nice. In the mix are several great animated items, including pinbacks of Felix, Popeye, Mickey Mouse and Betty Boop. A great collection.
Here’s how it works – Each day I have two prizes. I will ask one simple question. The first two people with correct answers (or what I think is the correct answer) to hit my email-box win. The first place winner gets to choose his or her prize from the two.Today’s prizes are: THE LOONEY TUNES GOLDEN COLLECTION V.2 and THE TOM & JERRY SPOTLIGHT COLLECTION. Today’s question is:
Tom is called “Jasper” in his first cartoon (PUSS GETS THE BOOT), what is Sylvester named in his first appearence with Tweety (in TWEETIE PIE)?
The Contest is now OVER. Thad Komorowski (1st place) and Rob Buttery have won! Man, you guys were fast! The correct answer was: Thomas
Oh boy! I’ve got some give-away material… so it’s time again to hold a few contests!Starting tomorrow (Saturday) for the next several days, I’ll be posting a trivia question here at (roughly) 9am Pacific Time. The first two winning answers I recieve each day will win a prize. The prizes will include THE TOM & JERRY SPOTLIGHT COLLECTION, LOONEY TUNES GOLDEN COLLECTION Volume 2, WACKY RACES dvd set, HARVIE CRUMPET dvd (2003 Oscar Winner) and my new book, ANIMATION ART.So check in with the Brew each morning, and test your cartoon knowledge – and hopefully win a prize!
Richard P. Huemer, son of Scrappy animator Dick Huemer, has an urgent request:
A bit of Disney history is about to crumble under the wrecking-ball. Back in 1935, my father Dick Huemer built a house in North Hollywood and decorated the nursery walls with Disney characters. You may know Dick as the co-story director of Fantasia and the co-author of Dumbo, as well as the author of TV shows and Academy Award-winning shorts, but throughout most of the 1930s he worked at Disney’s as an animator.After my mother died in 1999, my brother and I sold the old house. It has recently been re-sold, and is to be demolished to make way for new construction.I thought that Disney’s might be interested in acquiring and preserving these murals. One wall shows Mickey with a fishing pole on a background of stars; he has caught a long-billed Donald Duck with his hook. The other wall (photo enclosed) shows 2 of the Three Orphan Kittens sliding down the face of the quarter moon. (I regret the color shift due to my computer printer.) The mural was painted by Dick and his assistant, and appears to be on some sort of thin fabric glued to the wall.The house is at 12012 Hesby Street, North Hollywood, CA 91607. I do not know who owns it now. I received this sad information from Helen Catledge, who can be contacted at 818-763-7890.I found out the name of the owner of the demolition company; he is David Harai, and his phone number is 818-612-6629. He has been very nice to the various people who’ve called, in that he doesn’t want any money for the murals, but he says that if they aren’t taken off the walls tomorrow (Nov.19), he will finish tearing down the house, which he commenced doing this morning. One of the neighbors made contact with an art restorer who is supposed go out to the Hesby Street house tomorrow and cut the canvas from the walls, but I have not spoken to the restorer yet and am awaiting his return call.
Can anybody help Mr. Huemer to save this rare piece of art?
There are two great events happening this Saturday in Los Angeles. Both are opposite each other at 3pm and I’m somewhat involved with each one.The first is the one I will be hosting for Asifa-Hollywood at the AFI. “A Quiet Afternoon With Mr. Lawrence” will showcase the work of local animator Doug Lawrence (aka Mr. Lawrence).Lawrence is a director, writer, creator, layout artist, puppeteer, live action independent filmmaker, comedian and actor. I first met Doug when he was a layout artist on the original Ren & Stimpy in 1991. He has since gone on to be one of the principal creatives on ROCKO’S MODERN LIFE (and voiced the nerdy Filbert character). He’s since directed THE TWISTED TALES OF FELIX THE CAT and wrote for numerous other cartoon shows – spending the last several years on SPONGEBOB SQUAREPANTS as a director and writer (and the voice of evil Plankton).Lawrence has also created live action series, made award winning independent live action comedy shorts and performed in comedy clubs around Los Angeles. On Saturday at the AFI, we will screen Doug’s hilarious Film Roman pilot HAIR BALLS, and several other rareties from his animation career, as well as his latest live action short, VOICEOVER. Doug will also discuss his career in Hollywood and tell you how it really works.Meanwhile, over at GOLDEN APPLE, an IRON GIANT reunion and DVD signing event will be taking place. I assisted Bill Leibowitz in contacting artists to attend this event – and tried my best to get Bill to change the date & time – but he was insistent on doing it this Saturday and putting my name on the flyer, despite my telling him I had other plans that day. Unfortunetly Bill passed away a few weeks ago – and the show must go on. We expect a huge crowd of animators and fans. I will be showing up around 5:30pm or so.I report… you decide. But I hope you’ll join us at 3pm Saturday at one of these events.
I just read this piece in Hollywood Reporter. It is typical of Hollywood’s constant astonishment with Pixar and the success of THE INCREDIBLES.Let’s be clear about this: any Hollywood executive, trade reporter or Wall Street speculator who is still surprised by Pixar’s success, or THE INCREDIBLES box office performance, should not even be in this business. Those people are “idiots”.Pixar is IT. The perfect Hollywood studio, able to create commercially satisfying projects without sacrificing the art. And how do they do it? By supporting talent, taking chances, using common sense and respecting history.I no longer ask, “How long will Pixar’s winning streak last?”. The Pixar team is solid – and as long as they stick together (and they will) they will continue to push the envelope and make great films.The Pixar group is not unlike the teams behind the classic Warner Bros. cartoons (1940-1955) or Stan Lee’s silver age Marvel Comics, or even the Beatles. The right folks in the right place at the right time. People often ask, ‘why can’t anyone recreate the classic Warner Bros. cartoons?’. Those cartoons were Chuck Jones, Mel Blanc, Carl Stalling, Bob Clampett, Friz Freleng, Treg Brown, etc. There was a magic in those people’s combined efforts that is stronger than any of their independent or subsequent work. The same holds true with the 60′s Lee-Kirby-Ditko-Steranko-Colan-Bullpen Marvel comics and the John, Paul, George and Ringo music of that same era. You can imitate it, but you can’t duplicate it by following a simple formula.I don’t know what Pixar’s plans are after their Disney deal is finished. Disney is still the best studio for supporting, distributing, and publicizing animated films. Rumors are flying that they will end up with a sweet deal (ala George Lucas) at Fox or Sony or Warner Bros. I’m sure Pixar will do the right thing – but what I’d like them to do is to hire away the top distribution and marketing people at Disney and form their own distribution company (as Disney did in the 1950s).I’d like to see Pixar expand their filmmaking into other areas, including 2D traditional animation and even live action films. They have the potential to be a major studio… Wait-a-minute! What am I saying? They ARE a major studio.We’re in the golden age of Pixar. The animated film may be going through a transition period – with computers and all – but from this pundit’s perch the medium’s future is looking pretty… incredible.
One of our loyal readers (who wishes to remain anonymous) sent us this classic cartoon treat:
I just found this 78 after a decades-long search. Thought you’d enjoy hearing it.It’s on Peter Pan Records, and the credited narrator is Somer Alberg. The label carries an undated copyright to “Terry Toons, Inc.”. Brief segments of this record appear on many kiddie albums and 45s, most with the references to Mighty Mouse still there, very mysterious when taken out of context. Hence my decades-long search for the complete version.
Here then is Mighty Mouse In Toyland (download MP3 format)
Here’s an in-depth REPORT by Michael Fuchs about the 1st Pictoplasma Conference On Contemporary Character Design & Art which took place in Berlin a couple week ago. Also, there’s a bunch of photos from the conference HERE and Harald Siepermann’s review of the event was previously posted on the Brew.
John Canemaker tells us of a search for a 3-D Computer Animation Teacher at NEW YORK UNIVERSITY Tisch School of the Arts Kanbar Institute of Film & Television:
The Department of Undergraduate Film & Television seeks to fill a full-time faculty position in 3D computer animation for the 2005/2006 academic year. Position is available at the junior or senior level – tenure track or on a one-year visiting basis for a senior faculty applicant or for a professional in the industry.Qualifications: 3-D computer animator with solid professional experience, preferably in features, television and/or commercial production; an in-depth knowledge of MAYA is a must and a working knowledge of a range of 2-D and 3-D computer animation software and applications as well as solid teaching experience at the university level. Applicants must know the animation process from storyboard to post-production in traditional and computer animation and multimedia.Duties include teaching five undergraduate-level courses per year, student advisement, and participation in departmental and school-wide committees. On-going professional work while teaching is encouraged and expected.Salary to be negotiated & excellent benefits package. Please send letter stating your qualifications, curriculum vitae, and list of 3 references by December 15, 2004 to: Undergraduate Film & Television Search Committee, Attn: Wendy Kaplan, Administrative Director, Kanbar Institute of Film & Television, Tisch School of the Arts, New York University, 721 Broadway, Room 1102, New York, NY 10003 (fax 212/995-4062, [email protected])
Finalists will be asked to submit creative portfolio. NYU encourages applications from women and minorities.
Mo-CrapThis isn’t so much a review than it is a rant.I saw THE POLAR EXPRESS today, and my immediate take is: It’s awful. The INCREDIBLES is so much better a film in every way, I can’t wait to see it a third time. It’s like a new song that get’s stuck in your head and you just have to hear it again.Not so THE POLAR EXPRESS. It never grabbed me. I waited. I gave it chance. But I just couldn’t get past those fake looking “people”: the kids, the conductor, the elves. It’s funny, all the artificial enviroments – props, the train – all of that looked photo real. All of the things that were real (the mo-cap actors) looked fake.As I was watching the film, I kept thinking about how this could have worked for me – and I came up with two solutions. The first, I would’ve placed real actors in a CG world (ala SKY CAPTAIN). It might’ve been a truly breathtaking adventure that way. My other idea would have been to have the opening five minutes and closing five minutes shot on real sets with real actors, in live action. The real boy goes to sleep at the begining and wakes up at the end. The film is his dream – they say so several times in the film, as is. The CG/mo-cap would’ve worked for me as a visualization of a dream.Some people won’t have a problem with this film. People in my audience, when it was over, were talking about how much they loved it. I may be in the minority here – but I thought the whole thing was a waste of major talent. Tom Hanks is a great actor, Zemeckis has made many films I really admire, Sony Imageworks can do amazing work – but this is an experiment gone terribly wrong. Don’t waste your time.
I can’t think of anything sweeter than watching Zemeckis and Hanks fall flat on their faces with the absolutely pathetic opening of POLAR EXPRESS. The film, which cost well north of $250 million to produce and market, couldn’t muster better than a $23.5 million weekend, a financial performance almost as decrepit as the film’s visuals. Hopefully now that they’ve been taught, Bobby and Tommy will crawl back onto their live-action sets and halt this make-believe fantasy that they’re animation producers. Leave animation to the people who have actually bothered to learn the craft and who have dedicated their lives to the art form – artists like Brad Bird, whose INCREDIBLES managed to pull in another $51 million in its second weekend. Just for laughs, here’s an encore presentation of Zemeckis’ delusional appraisal of his animation skills: “I think when you see [POLAR EXPRESS], you’ll realize it’s absolutely nothing like an animated movie. You’ll see such subtlety in the performance of these characters that you would have to have the genius-of-all-genius animators. In my opinion, there’s no animation in the world that could have created it.”
The man who talked for “the talking magpies” has passed away. Comedian and comic actor Dayton Allen has died. He was a mainstay at the Terrytoons studio who, in addition to Heckle & Jeckle, voiced Astronut, James Hound, Lariat Sam and my favorite of his, Deputy Dawg. He also voiced Professor Weirdo, Fearless Fly and Flukey Luke on The Milton The Monster Show for Hal Seegar. Mark Evanier has a fuller obit on his site.
From the AP: An image of Popeye sits in an exhibit dedicated to the cartoon character at the Museum of Television and Radio in New York Saturday, Nov. 13, 2004. The museum unveiled a retrospective Saturday featuring rarities and collectibles from the cartoon hero’s career as Popeye celebrates his 75th birthday this year. Click here for the full story from the Associated Press.
In the world of online auctions, it’s practically impossible to compete with eBay–but for cartoon and comics fans, Heritage Comics does, with a series of ongoing auctions that includes an amazing array of high-quality stuff. Their site is well-done, and they publish glossy catalogs for some of the auctions that are a treat to peruse whether or not you actually bid on anything.
Up at the moment are scads of terrific vintage animation posters, including ones for Felix, Dinky Doodle, Flip the Frog, Oswald, Krazy Kat, and (drool!) Scrappy shorts. (If you’ve got a spare $45,000 or so, you can get in on the bidding for an original poster for MICKEY’S NIGHTMARE.)
Wonderful stuff–drop by the Heritage site and take a peek.