An Evening with Richard M. Sherman

There’s something special going on in Hollywood this weekend, especially if you love classic Disney music as much as I do. Disney’s Howard Green just informed me that songwriter Richard M. Sherman is doing a special show this Friday and Saturday at the El Capitan Theater. Sherman, the Oscar winning composer of Mary Poppins and more than 150 songs heard in Disney films and theme parks, will make a rare personal stage appearance, singing and telling the stories behind his songs, in what is being billed as A Supercalifragilistic Evening with Richard M. Sherman.

The second half of the program will include additional performers (“including wacky Joanne Worley”) joining in on songs from Richard’s latest show, Pazzazz, co-written with Magic Castle founder, Milt Larsen. The show will be performed on Friday, February 26 at 7 p.m., and Saturday February 27 at 2 p.m. and 8 p.m. Tickets are available at the El Capitan Theatre Box Office (6838 Hollywood Blvd.) or by calling 1-818-845-3110.

Animation Legends and Facebook

I spent some time on Facebook last night compiling data that shows who the most popular classic animation artists are on the social networking site. As a historian, I’m interested in understanding how artists from the early years of animation are remembered within the online community. The results aren’t particularly encouraging. Of the forty-eight artists I managed to find, roughly a quarter of them have attracted over five hundred fans. That’s a small number considering that these are some of the most revered names in our art form. Furthermore, a majority of the artists (nearly 60%) have less than 300 fans.

However, there is a silver lining. Classic artists who have continued to receive exposure in recent years have a disproportionately larger number of fans, which means that people would care about these artists if they were more aware of their accomplishments. Mary Blair, who has had a couple gallery exhibits and books published about her recently is the sixth most popular animation legend on Facebook. Walt Stanchfield, whose instructional handouts were compiled into books last year, is one hundred times more popular than Bill Tytla, who despite his stature, has received scant attention in the past couple decades.

What is most surprising are the omissions. Are Bob McKimson’s cartoons so disliked that he can’t garner even one fan from a pool of 400 million Facebook users? And McKimson is the tip of the iceberg. For starters, where are Ken Anderson, Bobe Cannon, Norm Ferguson, Carlo Vinci, Hawley Pratt, Pete Burness, Dick Lundy, Emery Hawkins, Preston Blair, Rod Scribner, Ray Patterson, Bob Givens, Art Davis, Dave Hilberman, Hugh Harman, Rudy Ising, Dave Tendlar, Grim Natwick, Bob McKimson, Milt Kahl, Sterling Sturtevant, Frank Thomas, Tom Oreb, Eric Larson, Les Clark, Shamus Culhane, Bill Littlejohn, Ken Harris, Art Babbitt, Virgil Ross, Manny Gould, Willard Bowsky, Al Eugster, Joe Grant, Dick Huemer and T. Hee to name but a few. Nobody appreciates any of these artists enough to start a fan page for them on the world’s largest social networking site, and that says a lot when nearly everything else has a fan page or group on Facebook nowadays.

Animation artists have never been ones to hanker for the spotlight, and as a result, there are few celebrities in this art form save for the characters themselves. So while nobody may appreciate the name Bob McKimson anymore, his character the Tasmanian Devil has 82,000 fans on Facebook, and though the name Grim Natwick may draw blank stares, rest assured that his eighty-year-old character Betty Boop has 92,000 fans.

The list of classic artists on Facebook is after the jump. I’m curious to hear what others make of these numbers.

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Dear Sesame Street

Sesame Street

Dear Sesame Street,

We, the undersigned, would like to register our concern over the contest you are now conducting with Aniboom. We are concerned that your contest includes a solicitation of original design concepts, characters and content to be produced on a speculative basis by cartoonists, artists, motion designers and animators.

This approach, requesting new and original work to be created in competition, is one that we believe seriously compromises the quality of work that is entered into “competition” and is questionable, at best, for a reputable organization to request.

Sesame Street has long been a highly esteemed provider of educational programming for children. From its inception, it has shown respect and support for the independent animation, film, and design communities. Artists have responded by creating lasting work — that is as valuable for children and adults today as when it was first created. We applaud that work, and hope that Sesame Street will continue to push the fields of animation and film-making. As such, we also think that Sesame Street should uphold the ethics and professional behavior we’d like our own children to grow up with. Is the education we want to pass on to them that artists’ and animators’ work is not valuable? That the only way to ‘make it’ is through winning a contest?

There is a more appropriate way to explore the work of various artists. A more effective and ethical approach to commission new work is to ask a pool of talent to submit examples of their work from previous assignments as well as a statement of how they would approach your project. You can then judge the quality of the artist’s previous work and her way of thinking about your project. The artist you select can then begin to work on your project by designing an original solution to your criteria while under contract to you, without having to work on speculation up front.

Design should not be a one-way street, with artists creating work in a vacuum. We believe the best design, art and content comes at the request of a specific brief, mission or client. Speculative design competitions and processes result in superficial assessments of the project at hand that are not grounded in a client’s specific needs. Art always has something to say.

There are few professions where all possible candidates are asked to do the work first, allowing the buyer to choose which one to compensate for their efforts. (Just consider the response if you were to ask a dozen lawyers to write a brief for you, from which you would then choose which one to pay!) We realize that there are some creative professions with a different set of standards, such as advertising and architecture, for which billings are substantial and continuous after you select a firm of record. In those cases, you are not receiving the final outcome (the advertising campaign or the building) for free up front as you would be in receiving an original film or character design.

There are many artists, animators and cartoonists who can provide you with original and highly creative new work that will far exceed your expectations, with respect for an appropriate budget and schedule. We can think of dozens off of the tops of our heads who we’re sure would love to work with Sesame Street. And we’d would love to point you in their direction.

We believe that “leveraging the power of the web” is an exciting prospect and casting a wide net can quickly provide many interesting results. But we think that more considered curation and the selection of applicants whose goals may be more closely aligned with your own can provide better results.

It’s your contest, though and you are free run it as you wish. But you will do so without our participation.

Your consideration of these professional issues is greatly appreciated.

Sincerely,
Cartoon Brew
Motionographer

See the full list of document signers and how to put your name on the list after the jump. (UPDATE: Over 200 people have now signed the letter.)

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Tex Avery 102

Friday will mark Tex Avery’s 102st birthday. To commemorate, the students of North Dallas High School, Avery’s alma mater, the place where Avery picked up the “What’s Up, Doc?” tagline he later gave to Bugs Bunny, are decorating the halls of the school with a mural of characters he created.

In another tribute to Avery’s genius, I highly recommend the latest post by Chris Lopez on his ComicsCrazy blog. Chris has posted over 40 vinatge MGM model sheets from various Avery classics: Lucky Ducky, Little Tinker, Bad Luck Blackie etc. The one above is from Screwball Squirrel, drawn by Claude Smith.

(Thanks, Oliver Coombes, Kevin Kidney and Peter Kurilecz)

The Man Behind the First Tom & Jerry

Long before Hanna Barbera’s Oscar-winning cat and mouse, a decade before Van Beuren’s rubber-hose human pair, a comical duo named Tom and Jerry created mischef on movie screens in animated theatrical short subjects that have long been forgotten – and are perhaps lost for all time.

In the image above, Tom is the man and Jerry is the mule. This was a stop-motion Tom and Jerry series, filmed in Los Angeles in the 1920′s, modeled and animated by Joseph Leeland Roop, a stop-motion pioneer who today is just as forgotten as the films themselves. Lee Roop, his grandson, is presently preparing a book about the animator and provided Cartoon Brew with tantalizing information about the original Tom & Jerry films.

Lee says J.L. Roop worked on twelve shorts for producer Lloyd C. Haynes, released between 1923-1924. All are (as of this writing) lost films. If anyone has any clues to their whereabouts, please contact us. The titles are:

The Incomparable Aerial Comedians in Fly-Time by H. C. Matthews
The Amiable Comedians in Throbs and Thrills (“A Snappy Railroad Comedy Drama”) by H. C. Matthews
Gasoline Trail by Bumps Adams
Tom’s First Fliver by Bumps Adams
Tom Turns Sleuth by Doris E. Kemper
Tom Turns Farmer by Doris E. Kemper
Tom’s Charm by Marshall Roop
Moonshine Frolic by Glen Lambert
Tom Turns Hero by Doris E. Kemper
The Jungle of Prehistoric Animals by G. E. Baily Ph. D.
The Hypnotist
Tom Goes on Vacation

Lee Roop provided this biographical information:

Joseph Leeland Roop was born in Kentucky on December 22, 1869 and died on December 22, 1932 in Glendale California. He was a sculptor most of his life and his work can be found in Indiana, Kentucky, and California.

When he died he was working for the Natural History Museum of Los Angeles and made most of the Early California History miniature dioramas which most are still on display. He also started and almost finished some of the statues at the Page Museum in Los Angeles (The La Brea Tar Pits) but died before he finished them and Herman Beck finished them and got the credit. You can find the picture of the saber tooth tiger on the internet.

He worked on the 1925 version of The Lost World making and animating some of the dinosaur scenes. His picture is on the Ray Harryhausen website as a early pioneer. He worked on the 1926 version The Gorilla Hunt, making the gorilla model and animating the scenes. He carved a fourteen foot wooden indian which is still in San Bernardino.

Lee sent three images (thumbnails below – click to see larger image). 1. a trade advertisement for the Tom & Jerry series, 2. An article from the May 1924 Popular Mechanics magazine, 3. Second page of P.M. article:

This is the kind of stuff I crave, new information on the unsung pioneers of animation history. Mr. Roop will keep me informed on the progress of his book – and I thank him for sending us this little preview.

Songs the Brothers Warner Taught Me by Megan Lynch

Megan Lynch is a singer/songwriter who, like many of us, learned classic American popular songs via watching Warner Bros. cartoons. Lynch has been active in the San Francisco Bay Area for the last 20 years or so and on her debut album, Songs the Brothers Warner Taught Me, she is accompanied by Tony Marcus and Robert Armstrong of The Cheap Suit Serenaders (Armstrong himself is a well-known animation fan and underground cartoonist. He created Mickey Rat back in the day).

Songs on the album include Hello Ma Baby, I Love To Singa, Someone’s Rockin’ My Dreamboat, The Latin Quarter and eight more you’ll surely recognize. I found it a total joy to listen to. You can purchase a cd or download an mp3 via cdbaby, though Lynch has graciously allowed Cartoon Brew readers to enjoy the entire album free, via the embed below:

<a onclick="javascript:pageTracker._trackPageview('/outgoing/meganlynch.bandcamp.com/album/songs-the-brothers-warner-taught-me');" href="http://meganlynch.bandcamp.com/album/songs-the-brothers-warner-taught-me">Hello Ma Baby by Megan Lynch</a>

The Cow Who Wanted to Be a Hamburger

Attention! If you are hungry for a new Bill Plympton cartoon – or some great barbeque steak – New York’s Hill Country Barbecue Market will present the world premiere of Plympton’s latest, The Cow Who Wanted to Be a Hamburger on Tuesday March 2nd. Plympton will be there to introduce his brand-new cartoon short, along with live performances by his musical collaborators Nicole Renaud and Maureen McElheron. Everyone who comes receives a free Bill Plympton cow drawing.

When: Tuesday, March 2nd, 2010, 6-8pm
Location: Hill Country Barbecue Market is located at 30 West 26th St., NY.

Animated Euro-Trash

Each year I’m dismayed at the lack of U.S. distribution for several high quality theatrical animated features, out of the dozens of really good ones, produced around the world.

However, I recognize that not all non-U.S. features are of the quality of The Secret of Kells, Persepolis, Waltz With Bashir or The Triplettes of Belleville. Here are two examples of recent Euro-features that will probably never see the light of day at an American multi-plex (though I wouldn’t rule them out from the $1 dollar bin at Target):

The first, a Germany Danish film, Sunshine Barry and the Disco Worms

The next, a Belgium-Luxembourg co-production, is based on the graphic novel by Willy Vandersteen, Bob and Bobbette and the Devils of Texas:

An Afternoon of Remembrance

Once each year at the DeMille Barn in Hollywood, the Animation Guild, ASIFA-Hollywood and Women In Animation present An Afternoon of Remembrance, “a non-denominational celebration of departed friends from our animation community”.

This year the event takes place on Saturday, March 13th, at 1pm (A reception precedes the memorial at 12 noon). Tributes will be paid to many, including:

Wayne Allwine, Ray Aragon, Dina Babbitt, Bob Broughton, Art Clokey, Vincent Davis, Virginia Davis, Jaime Diaz, Roy E. Disney, Bob Dranko, Heinz Edelmann, Ric Estrada, Victor Haboush, Dallas McKennon, Marty Murphy, Tony Peters, Arnold Stang and others.

The Afternoon of Remembrance is free of charge and is open to all. No RSVPs necessary. Food and refreshments, 12 noon, Memoriams, 1 pm. The Hollywood Heritage Museum (Lasky-DeMille Barn) is located at 2100 N. Highland Ave. (across from Hollywood Bowl) in Hollywood, California.