Archive for the ‘music’ Category

Wednesday, April 24th, 2013

Theory: Live The Fabulous Lifestyle Of A Hollywood Cartoonist

Cartoonist Party

Wrap party for “Toot Whistle Plunk & Boom”

John Kricfalusi posted a blistering post this morning about popular culture and the upside down meaning of the words "liberal" and "conservative" today. If you haven’t read it yet, check it out. Here is my own take on a similar theme…

BingBingThe other day, a student at Woodbury volunteered to help build out our database. His name is Jo-Jo. He told me how much this blog, along with Eddie Fitzgerald’s and John K’s, has opened his eyes to how great cartoons were in the 30s, 40s and 50s. He had a sketchbook full of Preston Blair drawings and enthusiasm for Fleischer, MGM and Warner Bros cartoons. So I asked him what kinds of music he listens to…

“David Bowie mostly.”

My jaw hit the floor. I couldn’t believe what I was hearing. I gave Jo-Jo the best tip he’ll ever get…

Cartoons aren’t the only things that were better back in the first half of the 20th century.

Roy SmeckRoy SmeckMike Fontanelli stopped by later and pointed out that somebody should write a book titled "The Golden Age of Everything". Sure, there are things today that are incredibly great… computers, the internet, iPods, frost-free refrigerators, etc… but music, dance, illustration, writing, movies and cartoons were all better back then. Cartoonists should be aware of this, and they should absorb all of the greatness of the past. It will make them better cartoonists.

Today, I’m going to talk about music…

Bob Wills and his Texas Playboys

I know that someone out there is going to post a comment saying that there’s still great music being made, it just isn’t mainstream. I’m fully aware of the fact that there are talented musicians working today. But in the 30s through the 50s, incredible talent was a given. Performers, from the top of the heap to the bottom- from most popular to least- were all capable of making you do a double take and say “wow!”.

Fats WallerFats WallerWhen I ask kids what kinds of music they listen to, I usually get the response, “All kinds.” But “all kinds” usually turns out to mean a million shades of the same color… current rock music. There are so many names today for the same kind of music. For the life of me, I can’t tell the difference between rave, techno and electronica. In the past, there really were a million kinds of music… pop vocals, hot jazz, country western, big band swing, folk, rhythm & blues, bluegrass, mambo, dixieland, rock n’ roll, sweet orchestral, be bop…

I could talk for hours about this subject, but the best proof is seeing what I’m talking about…

JAZZ

Lucky Millinder

Lucky Millinder & Sister Rosetta Tharpe
"Four Or Five Times" (Soundie/1941)
(Quicktime 7 / 5.5 megs)

COUNTRY MUSIC

Collins And Maphis

Larry Collins & Joe Maphis
"Under The Double Eagle" (Tex Ritter’s Ranch Party/1959)
(Quicktime 7 / 5 megs)

THE BLUES

Collins And Maphis

Leadbelly
"Gray Goose" "Pick A Bale Of Cotton"(1950s)
(Quicktime 7 / 10 megs)

POPULAR MUSIC

Les Paul

Les Paul & Mary Ford
"The World Is Waiting For The Sunrise" "Amuka Riki" (Grand Old Opry/1959)
(Quicktime 7 / 12 megs)

If you are a student planning to be a professional cartoonist, listen to music that relates to your work- read books that inspire cartoony ideas- watch movies to learn cinematic techniques that can be applied to cartooning- LIVE THE FABULOUS LIFESTYLE OF A FAMOUS HOLLYWOOD CARTOONIST!

By the way… Jo-Jo is a big Fats Waller fan now! And that’s not all… He graduated from college, trained with John K. and is a professional in the animation business now. Way to go, Jo-Jo!

Stephen Worth
Director
Animation Resources

TheoryTheory

This posting is part of a series of articles comprising an online exhibit entitled Theory.

Wednesday, March 27th, 2013

Inbetweens: Robert Paterson’s “Looney Tunes” Symphony

Robert Paterson Looney Tunes

CLASSICAL MUSIC COMPOSER CREATES A “LOONEY TUNES” SYMPHONY

We all know how important classical music was to the scores of Carl Stalling in the Warner Bros cartoons… Well classical music is now returning the complement!

Paterson writes: “In ‘Looney Tunes’, each movement uses a specific well-known cartoon character as a musical influence and point of departure. The first movement, Taz, is inspired by the Tasmanian Devil character and plays upon all of Taz’s traits with loud, dissonant outbursts, gyrating transitions, quiet, reflective sections and a few references to his attraction to music. The second movement, Foghorn Leghorn, is inspired by this character’s loud, vocal disposition. The ‘Foghorn’ part of his name makes me think of real foghorns, and a foghorn-like interval begins this low-sounding, baritone sax-heavy movement. The third movement, Tweety Bird, provides contrast with a somewhat high tessitura and includes prominent parts for piccolo, violin, xylophone and alto sax. Although the entire movement only abstractly references the animated Tweety, I try to make all of the high instruments sound bird-like from beginning to end. Two of my favorite cartoon characters of all time are the Road Runner and Wile E. Coyote, so it seemed appropriate to end the work with a fast Road Runner movement. I have always been fascinated by the seemingly infinite array of ACME inventions the Coyote uses to try and capture the Road Runner, and the last movement reflects this and incorporates a number of exotic, gizmo-like sounds and instruments.”

Robert Paterson’s “Looney Tunes”
Visit his website for mp3 sound samples and more information.
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Friday, February 1st, 2013

Inbetweens: Singer Ute Lemper Shows How To Act With The Whole Body

Ute Lemper

I discovered an amazing singer today, Ute Lemper. Her ability to act transcends words and languages. She sings in German, English, French and Yiddish, but her body movements, facial expressions and gestures carry the bulk of the meaning in the songs. For example here is a song made famous by Edith Piaf…

…check out the hand gestures, body poses and facial expressions in this one…

Too often in animation, we use “canned” gestures and facial expressions that are symbolic of emotion without actually expressing it. We plan out the poses carefully to hit all the bases and lose all sense of spontaneity. There’s a lot to be learned from studying performers like Ute Lemper who have a direct connection between their emotions and their movement.