In honor of Lou Reed on his birthday, born on this day in 1942, I present to you My Name is Mok, sung by Lou Reed in the Canadian animated film Rock & Rule.
My Name is Mok is a song performed for Mok by Lou Reed. The song is abridged in the film and has never had a wide official release, but copies of the complete song are circulating in fandom.
Lou Reed was an American musician, singer, songwriter, and poet. He was the guitarist, singer, and principal songwriter for the rock band the Velvet Underground and had a solo career that spanned five decades. The Velvet Underground was not a commercial success during its existence, but became regarded as one of the most influential bands in the history of underground and alternative rock music. Reed’s distinctive deadpan voice, poetic and transgressive lyrics, and experimental guitar playing were trademarks throughout his long career. After leaving the band in 1970, Reed released twenty solo studio albums.
Rock & Rule is a 1983 Canadian animated musical science fantasy film featuring the voices of Don Francks, Greg Salata and Susan Roman. It was produced and directed by Michael Hirsh, Patrick Loubert, and Clive A. Smith with John Halfpenny, Patrick Loubert, and Peter Sauder at the helm of its screenplay.
Watch Nina Simone perform a medley of Stars and Feelings live at the Montreux Jazz Festival, 1976
In honor of Nina Simoneâs birthday, born on this day in 1933, I present to you Nina Simone!
Nina Simone was one of the great female vocalists of the 20th Century. She was equally at home singing jazz, blues, soul, gospel or pure pop. Hugely prolific throughout the fifties, sixties and seventies, she recorded only rarely in her later career, but remained a major live performer until well into the nineties when, becoming increasingly frail, she retired to France where she died in 2003 at the age of 70.
Nina Simone made four appearances at the Montreux Festival between 1968 and 1990. This clip features a segment of the performance from 1976 as the main feature.
Nina Simone was one of the most extraordinary artists of the twentieth century, an icon of American music. She was the consummate musical storyteller, a griot as she would come to learn, who used her remarkable talent to create a legacy of liberation, empowerment, passion, and love through a magnificent body of works. She earned the moniker âHigh Priestess of Soulâ for she could weave a spell so seductive and hypnotic that the listener lost track of time and space as they became absorbed in the moment. She was who the world would come to know as Nina Simone.
When Nina Simone died on April 21, 2003, she left a timeless treasure trove of musical magic spanning over four decades from her first hit, the 1959 Top 10 classic âI Loves You Porgy,â to âA Single Woman,â the title cut from her one and only 1993 Elektra album. While thirty-three years separate those recordings, the element of honest emotion is the glue that binds the two together â it is that approach to every piece of work that became Ninaâs uncompromising musical trademark.
By the end of her life, Nina was enjoying an unprecedented degree of recognition. Her music was enjoyed by the masses due to the CD revolution, discovery on the Internet, and exposure through movies and television. Nina had sold over one million CDs in the last decade of her life, making her a global catalog best-seller.
In honor of Nina Simoneâs birthday, born on this day in 1933, I present to you Nina Simone!
My Baby Just Cares for Me is a jazz standard written by Walter Donaldson with lyrics by Gus Kahn. Written for the film version of the musical comedy Whoopee! (1930), the song became a signature tune for Eddie Cantor who sang it in the movie. A stylized version of the song by Nina Simone, recorded in 1957, was a top 10 hit in the United Kingdom after it was used in a 1987 perfume commercial and resulted in a renaissance for Simone.
Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned styles including classical, jazz, blues, folk, R&B, gospel and pop.
The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well received audition, which she attributed to racism. In 2003, just days before her death, the Institute awarded her an honorary degree.
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to âNina Simoneâ to disguise herself from family members, having chosen to play âthe devilâs musicâ or so-called âcocktail pianoâ. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with âI Loves You, Porgyâ. Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.
“I feel more alive now than I ever have in my life. I have a chance to live, as I’ve dreamed.”
Nina Simone
Lilian Terry had a national radio show in Italy–everyone from Ray Charles to Duke Ellington appeared on her show–and there was one person she always wanted to interview: Nina Simone. But Lilian had heard Nina didnât enjoy speaking with white people. Thankfully Lillian had a confidant in Max Roach, the legendary jazz drummer, who introduced Lilian to Nina at the Newport Festival in 1968. âLilian Terry comes from Egypt, â Roach said. This was true; Lilian was born in Cairo to a father from Malta and a mother from Italy. With that simple introduction, Nina waved Lillian over. Soon they were talking about nefertitti and the pharoahs. Nina even told Lilian she thought sheâd been in Egypt in a previous life. A few days later Lilian went to Ninaâs house in Mt. Vernon, New York. They sat by the pool, the tape recorder was turned on, and the conversation continued.
Animation brings Color Is a Beautiful Thing to life, off of Nina Simoneâs rediscovered album Fodder On My Wings
In honor of Nina Simoneâs birthday, born on this day in 1933, I present to you Nina Simone!
Fodder on My Wings is an album by singer/pianist/songwriter Nina Simone. It is part of her later works, and can be regarded alongside Baltimore (1978) as one of her better achievements of that period. It is, however, a rather obscure album and not widely distributed. The album is one of Simone’s most introspective and personal works, with songs about her father’s death and her stay in Liberia, Trinidad, and Switzerland.
Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned styles including classical, jazz, blues, folk, R&B, gospel and pop.
The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well received audition, which she attributed to racism. In 2003, just days before her death, the Institute awarded her an honorary degree.
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to âNina Simoneâ to disguise herself from family members, having chosen to play âthe devilâs musicâ or so-called âcocktail pianoâ. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with âI Loves You, Porgyâ. Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.
Animated video directed by Sharon Liu and Aaron Lampert.
Watch the visualizer for Rudimental’s Remix of “Take Care Of Business” by Nina Simone from the album Feeling Good: Her Greatest & Remixes (2022)
In honor of Nina Simone’s birthday, born on this day in 1933, I present to you Nina Simone!
Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned styles including classical, jazz, blues, folk, R&B, gospel and pop.
The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well received audition, which she attributed to racism. In 2003, just days before her death, the Institute awarded her an honorary degree.
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to “Nina Simone” to disguise herself from family members, having chosen to play “the devil’s music” or so-called “cocktail piano”. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with “I Loves You, Porgy”. Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.
Animated video directed by Sharon Liu and Aaron Lampert (2022).
From Emma’s “Blonde on the Tracks” album, released August 2020 by Tiny Ghost Records.
In honor of Bob Dylan’s 1966 song One of Us Must Know, released 56 years ago today, I present to you Emma Swift’s beautiful rendition of the song. Enjoy.
Art direction, concept, graphic design: Yvonne Moxham
Animation: Alex Dar
âHer high, clear voice highlights each syllable, letting you hear the words form, one seemingly following inevitably from the other, until they feel handed down, fragments of old songs now speaking to each other.â
Greil Marcus, LA Review of Books
One of Us Must Know is an emotional confession of mis-connects and apologies from Bob Dylan to a young woman he regrets having mistreated.
Emma Swift is an Australian singer-songwriter. Before becoming a musician, she was a radio broadcaster, hosting Americana music show In the Pines on FBi Radio and Revelator on Double J at Australian Broadcasting Corporation in Sydney, Australia.
Solid Serenade is a 1946 one-reel animated cartoon and is the 26th Tom and Jerry short, produced in Technicolor and released to theatres on August 31, 1946 by Metro-Goldwyn Mayer. It was produced by Fred Quimby, directed by William Hanna and Joseph Barbera, and the musical supervision was by Scott Bradley. Ed Barge, Michael Lah, and Kenneth Muse animated it. Excerpts of this cartoon are seen in three other Tom and Jerry shorts: Jerry’s Diary, Smitten Kitten, and Smarty Cat, the latter instance with altered audio and an added scene of Tom whistling.
Animation historian Michael Barrier wrote that Tom’s appearance stabilized by the time of Solid Serenade, giving him a more streamlined and less inconsistent look. Jerry, whose appearance was already economical, only became cuter, according to Barrier. Describing music director Scott Bradley’s work, academic Daniel Ira Goldmark called Solid Serenade “an excellent overview of Bradley’s techniques”, as it uses both popular songs and an original score.
Is You Is or Is You Ain’t My Baby is a 1944 Louis Jordan song, released as the B-side of a single with “G.I. Jive”. “Is You Is or Is You Ain’t My Baby” reached #1 on the US folk/country charts. The song appeared in the Tom and Jerry cartoon Solid Serenade and sung by Ira Woods as Tom Cat on the bass.
Louis Thomas Jordan was an American saxophonist, multi-instrumentalist, songwriter and bandleader who was popular from the late 1930s to the early 1950s. Known as “The King of the Jukebox”, he earned his highest profile towards the end of the swing era. He was inducted into the Rock and Roll Hall of Fame as an “early influence” in 1987.
In the spirit of Bob Marley’s birthday, which, yes, is today, I wanted to share this animated music video with you to help inspire some Bob Marley energy throughout the universe. Peace.
Three Little Birds is a song by Bob Marley and the Wailers. It is the fourth track on side two of their 1977 album Exodus and was released as a single in 1980. The song reached the Top 20 in the UK, peaking at number 17. It is one of Bob Marley’s most popular songs. The song has been covered by numerous other artists. The song is often thought to be named “Don’t Worry About a Thing” or “Every Little Thing is Gonna Be Alright”, because of the prominent and repeated use of these phrases in the chorus.
Based on the graphic novel series by Troy Little, this pilot special features the misadventures of the Canadian cuddle-core punk rock girl band, Angora Napkin, comprised of bubbly Beatrice, bookish Molly, and mute Mallory.
Three young women meet the world head-on in a bubblegum pop explosion of harsh reality. Spinning off from the Eisner nominated graphic novel, this animated pilot was created for Teletoon as part of their Pilot Project initiative.
I never knew this cartoon even existed. It’s pretty bad, but still kinda fun to watch.
The Beatles is a Saturday morning animated television series featuring representations of the popular English rock band of the same name. It was originally broadcast from 1965 to 1969 on ABC in the USA. The series debuted on 25 September 1965 and new episodes ended on 21 October 1967. Each episode is named after a Beatles song and based on its lyrics. The series was a historical milestone as the first weekly television series to feature animated versions of real, living people.
Watch the Sesame Street Muppets play a Tiny Desk Concert.
The news has stopped! Count von Count and the NPR kids count us down: 5 … 4 … 3 … 2 … 1!
And there they are at the Tiny Desk: Big Bird, Bert and Ernie, Rosita, Abby Cadabby and Cookie Monster, all singing about a sunny day and how everything is A-OK. The Sesame Street crew, including Elmo, Grover and other surprise guests, visited NPR’s headquarters in Washington, D.C., to celebrate Sesame Street’s 50 years of teaching the world its A-B-Cs, its 1-2-3s, how to be kind and how to be proud, all while spreading love and joy. Sesame Street has won more major awards than any other group to play the Tiny Desk, including 11 Grammys and 192 Emmys. There was a lot of love as the cast of Sesame Street got to meet NPR hosts and newscasters, who in turn got to geek out meeting their favorite Muppets and the creators behind the felt and fur. These folks include Matt Vogel, Sesame Street’s puppet captain and performer, and music director Bill Sherman.
I even got to sing with Grover. And I’ll also say, on a personal note, that this may well have been the hardest-working, most dedicated group of performers I’ve ever worked with. I’m so proud of these Muppets and so happy to celebrate all that they’ve meant to the world for these 50 years.
MUSICIANS — Leslie Carrara-Rudolph: Abby Cadabby, Penguin; Ryan Dillon: Elmo; Eric Jacobson: Bert, Grover, Oscar the Grouch; Peter Linz: Ernie, Herry Monster; Carmen Osbahr: Rosita; David Rudman: Cookie Monster; Matt Vogel: Big Bird, Count von Count, Mr. Johnson; John Deley: keys; Rob Jost: bass; Michael Croiter: drums
In 1985, Ralph Bakshi received a phone call from The Rolling Stones’ manager, Tony King, who told Bakshi that the band had recorded a cover of Bob & Earl’s “Harlem Shuffle”, and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy Awards.
Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer John Kricfalusi had to push his team, including Lynne Naylor, Jim Smith and Bob Jaques, to complete the animation within a few weeks.
The band’s arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi’s animation and the live-action footage did not match; however, the video was completed on time.
In the last decade or two, you generally know whatâs coming when you hit play on a new Neil Young record. You know there will be a few sweet love-struck hymns that sound as if theyâre being played in dusty Old West saloons or around campfires. You anticipate the songs that wax nostalgic about his childhood, and the ones that rage against the destructiveness and stupidity of mankind and the impact on the planet. You await those moments when he turns the volume knob up and makes his guitar sound like itâs sandblasting paint off an old shed
All those elements are in play in Barn, but the crucial difference is the presence of a reconstituted version of Crazy Horse, with recurring Young sideman Nils Lofgren replacing the retired Frank âPonchoâ Sampedro. Young first reconvened his on-again, dismissed-again band for 2010âs underwhelming Colorado, but maybe they all just needed time to warm up. On Barn, cut in just a few days at a log-cabin structure in Colorado, the thunderous and ornery side of Young and the Horse revs up again, and sonically, at least, itâs akin to running into an old friend you havenât seen face to face since the pre-pandemic days.
Ozzy Osbourne and late Motörhead frontman Lemmy Kilmister beat back an alien invasion with the power of rock and roll, and a little bit of dark magic, in the new animated video for their mash-up duet, Hellraiser. The clip was directed by Mark Szumski and Gina Niespodziani.Â
âIâm so glad we were able to honor my dear friend Lemmy with this duet and now the video. We immortalized him with a clip of the two of us being together, hanging out and getting into some trouble as we so often did.â
Inspired by Walt Disney’s and Ub Iwerks’ Silly Symphonies animated short The Skeleton Dance, Tim Burton pays homage to the frolicking skeletons of swing in this fun little diddy, Remains of the Day.
Happy Halloween!
Hey! Give me a listen, you corpses of cheer. Least less of you who still got an ear, Iâll tell âya a story, make your skeleton cry, of our own judiciously lovely corpse bride. Die, die we all pass away, but donât wear a frown âcuz itâs really okay. You might try nâ hide, and you might try nâ pray, but we all end up the remains of the day.
Die die die yeah yeah, die die die.
Well! Our girl is a beauty known for miles around. A mysterious stranger came into town. He was plenty good lookinâ but down on his cash, and our poor little baby she fell hard and fast, when her daddy said no, she just couldnât cope, so our lovers came up with a plan to elope.
Die, die we all pass away, but donât wear a frown âcuz itâs really okay. You might try nâ hide, and you might try nâ pray, but we all end up the remains of the day.
Die die die yeah yeah, die die die yeah yeah die die die yeah yeah die die die yeah yeah
Yeah, so they conjured up a plan to meet late at night, they told not a soul kept the whole thing tight. Now her motherâs wedding dress fit like a glove, you donât need much when youâre really in love. Except for a few things or so Iâm told, like the family jewels and a satchel of gold. Then next to the graveyard by the old oak tree, on a dark foggy night at a quarter to three, she was ready to go, but where was he?
(And then?) She waited (And then?) There in the shadows, was it a man? (And then?) Her little heart beat sooo loud! (And THEN?) And then baby, everything went black.
Now when she opened her eyes, she was dead as dust, her jewels were missinâ and her heart was bust, so she made a vow lyinâ under that tree that sheâd wait for her true love to come set her free. Always waitinâ for someone to ask for her hand, when outta the blue comes this groovy young man, who vows forever, to be by her side, and thatâs the story of our own, corpse bride
Die, die we all pass away, but donât wear a frown âcuz itâs really okay. You might try nâ hide, and you might try nâ pray, but we all end up the remains of the day.
Hey! Might as well give today a Transylvania theme!
Sweet Transvestite is a song from the 1973 British musical stage production The Rocky Horror Show and its 1975 film counterpart The Rocky Horror Picture Show. The song is performed by the character, Dr Frank N. Furter, originally played by Tim Curry.
Minnie the Moocher is a 1932 Betty Boop cartoon produced by Fleischer Studios and released by Paramount Pictures.
Happy Halloween!
What better way to kick off this Halloween than with the Betty Boop classic Minnie the Moocher. Enjoy!
The cartoon opens with a live action sequence of Cab Calloway and his orchestra performing an instrumental rendition of the song St. James Infirmary. Then Betty Boop gets into a fight with her strict, Yiddish speaking, Jewish parents, and as a result, runs away from home with her boyfriend Bimbo, and sings excerpts of the Harry Von Tilzer song They Always Pick on Me and the song Mean to Me.
Betty and Bimbo end up in a cave with a walrus, who has Cab Calloway’s voice, and sings Minnie the Moocher and dances to the melancholy song. Calloway is joined in the performance by various ghosts, goblins, skeletons, and other frightening things. Betty and Bimbo are subjected to skeletons drinking at a bar, ghost prisoners sitting in electric chairs, and a cat with empty eye-sockets feeding her equally empty-eyed kittens. Betty and Bimbo both change their minds about running away and rush back home with every ghost right behind them. Betty makes it safely back to her home and hides under the blankets of her bed. As she shakes in terror, the note she earlier wrote to her parents tears, leaving “Home Sweet Home” on it. The film ends with Calloway performing the instrumental Vine Street Blues.
History of Fleischer Studios
Fleischer Studios was an American corporation which originated as an animation studio located at 1600 Broadway, New York City, New York. It was founded in 1921 as Inkwell Studios by brothers Ma Fleischer and Dave Fleischer who ran the pioneering company from its inception until Paramount Pictures, the studio’s parent company and the distributor of its films, acquired ownership. In its prime, Fleischer Studios was a premier producer of animated cartoons for theaters, with Walt Disney Productions becoming its chief competitor in the 1930s.
Fleischer Studios is notable for Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, and Superman. Unlike other studios, whose characters were anthropomorphic animals, the Fleischers’ most successful characters were humans (With the exception of Bimbo in the 1930s.). The cartoons of the Fleischer Studio were very different from the Disney product, both in concept and in execution. As a result, the Fleischer cartoons were rough rather than refined, commercial rather than consciously artistic. But in their unique way, their artistry was expressed through a culmination of the arts and sciences. This approach focused on surrealism, dark humor, adult psychological elements, and sexuality, and the environments were grittier and urban, often set in squalid surroundings, reflecting the Depression as well as German Expressionism.
The Fleischer Studio was built on Max Fleischer’s novelty film series, Out of the Inkwell (1919-1927). The “novelty” was based largely on the results of the rotoscope, invented by Fleischer to produce realistic animation. The first Out of the Inkwell films were produced through The Bray Studio, and featured Fleischer’s first character, “The Clown,” which became known as Ko-Ko the Clown in 1924.
In 1921, The Bray Studio ran afoul with legal issues, having contracted for more films than it could deliver to its distributor, The Goldwyn Company. The Fleischer Brothers left and began their own studio with Dave as Director and Production Supervisor, and Max as Producer. In 1924, Veteran Animator, Dick Huemer came to The Inkwell Studio and redesigned “The Clown” for more efficient animation. Huemer’s new design and experience as an Animator moved them away from their dependency on The Rotoscope for fluid animation. In addition to defining the clown, Huemer established the Fleischer style with its distinctive thick and thin ink lines. In addition, Huemer created Ko-Ko’s companion, Fitz the Dog, who would evolve into Bimbo in 1930.
Throughout the 1920s, Fleischer was one of the leading producers of animation with clever moments and numerous innovations including the “Rotograph”, an early “Aerial Image” photographic process for compositing animation with live action backgrounds. Other innovations included Ko-Ko Song Car-Tunes and sing-along shorts featuring the famous bouncing ball, a precursor to Karaoke.
Play With Fire out August 21, 2020, on Suicide Squeeze
Animation and motion design by Bradley Hale. Artwork by Future Shock.
LA garage punk trio L.A.Witch have shared their new single I WannaLose.
The three-piece band will release their new album Play With Fire on August 21st, and it finds the band draping their guitar pop distortion in waves of reverb.
“Play With Fire is a suggestion to make things happen, Donât fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are feelings that have stopped me in the past. I want to inspire others to be freethinkers even if it causes a little burn.”
-Sade Sanchez
The new single I Wanna Lose is online now, and it’s about letting everything burn down, if only to find a forward path.
A song about sucking up punches. It’s a potent, biting single. Sade continues:
“I Wanna Lose is about feeling free and feeling stronger because you’ve lost everything and now you’ve got everything to win. It’s about being a punching bag in a martyr-like way, and losing a fight to move on.”
Bradley Hale animates the video for ‘I Wanna Lose’ – tune in now.
L.A. Witch is a garage-rock trio formed in Los Angeles, California in 2011. Founded by L.A. natives Sade Sanchez and Irita Pai, the band’s sound has been described as a “mix of forlorn psych folk, lethargic lo-fi blues, and boozy garage rock drones steeped in moody, drugged-out surf reverb.” The group’s influences include Black Sabbath, The Brian Jonestown Massacre, and seminal L.A. punk rock bands X and the Gun Club.
Asked to come up with a name, the band chose its current name after discovering its first choice, Witch, was taken. Drummer Ellie English replaced original drummer Crystal Nava after the latter left for New York City and didn’t return.
Very Noise is track 3 from the album Spirituality and Distortion from Igorrr, released on March 27th, 2020 on Metal Blade Records.
Unchain your brain!
Spirituality & Distortion is the newest addition to Igorrrâs musical madness, released on Metal Blade Records. Gautier Serre once again bring his music to another impressive level, with a complex but catchy album.
A Corny Concerto is a 1943 Warner Bros. Merrie Melodies directed by Bob Clampett. The short was released on September 25, 1943, and stars Bugs Bunny, Porky Pig, Elmer Fudd and Daffy Duck. They perform a parody of Disney’s Silly Symphony cartoon series and specifically his 1940 feature Fantasia. The film uses two of Johann Strauss’ best known waltzes, “Tales from the Vienna Woods” and “The Blue Danube”.
Fantasia was marketed to highbrow music fans; the Looney Tunes staff responded by violating the ivory tower of classical music and concert hall culture. A Corny Concerto parodies Fantasia’s Silly Symphonies-derived balletic approach to storytelling. Elmer Fudd stands in for Deems Taylor, and in an anti-highbrow gag, his starched shirtfront keeps erupting from his shirt to hit him on the face.
Piggy takes his girlfriend, Fluffy, to a jazz concert.
You Don’t Know What You’re Doin’! is a 1931 Warner Bros. Merrie Melodies cartoon short directed by Rudolf Ising. The short was released on October 21, 1931, and stars Piggy, one of the series’ early recurring characters. First released on October 21, 1931, the film is perhaps one of the most amusing and effective of the cartoons from the studio’s earliest years.
The musical soundtrack was done by the then-nationally famous Abe Lyman Orchestra, which adds a happy energy throughout the cartoon. The eccentric virtuoso trombone playing of Orlando “Slim” Martin is prominently featured. Martin played not only music but also some rather bizarre effects on his horn. His trombone solo representing the drunken automobile is especially memorable. The Schlesinger Studio had their sound effects department construct mechanical devices to roughly reproduce some of Martin’s sounds, which became standard cartoon sound effects.
I decided to post this video just for the simple fact that Jon Batiste is one of the most animated characters I can think of. That, and we could all use a little FREEDOM!
New Orleans musician Jon Batiste just released his new song FREEDOM, and his video makes the streets of New Orleans sing.
Batiste, clad in a pink suit, gets New Orleans community members on their feet, singing and dancing throughout Treme, the Seventh Ward, City Park and under the Claiborne Expressway.
The St. Augustine Marching 100 were also prominently featured, which is where Batiste went to school.
Batiste’s music company tweeted the link to the music video Friday, calling it a “tribute to New Orleans.”
Batiste describes the song FREEDOM as “like an old movie,” comparing the likeness of the video’s movements to James Brown and Elvis.
âIf you think about movies back in the day, you wouldnât show a black man with a white woman, or you wouldn’t show a black relationship, or you wouldn’t show a woman in a certain role. That is our sexuality and how people are represented. That’s what people like James Brown, or when we saw Elvis with the twist in the hips, did. They were unlocking something in people that they were trying to hold in. These people became beacons of freedom, and you look at the way they move and the way that they express who they are onstage. That becomes the way that you want to be in life.”
Jon Batiste
When I move my body just like this I don’t know why But I feel like freedom (Freedom) I hear a song that takes me back And I let go with so much freedom (Freedom) Free to live (how I wanna live) I’m gon get (what i’m gonna get) ‘Cause it’s my freedom (Freedom)
I love how you talk You speaking my language The way that you walk You can’t contain it Is it the shoes Jumped up, kangaroo We’re overdue for a little more prancing
Now it’s your time (It’s your right) You can shine (It’s alright) If you do I’ma do too
When I move my body just like this I don’t know why But I feel like freedom (Freedom) I hear a song that takes me back And I let go With so much freedom (Freedom) Free to live (How I wanna live) I’m gon get (What I’m gonna get) ‘Cause it’s my freedom (Freedom)
The reason we get down, is to get back up If someones around, Go on let them look You can’t stand still This ain’t no drill More than cheap thrills, (Feels like money money money)
Now it’s your time (It’s your right) You can shine (It’s alright) If you do I’ma do too
‘Cause when I look up to the stars (Stars) I know exactly who we are (Ooh) ‘Cause then I see you shinin’ You shinin’ You shinin’ oh!
Free to be! (Everybody come on) (Freedom!) (Everybody come âround) (Everybody come on) (Everybody hit the floor) Come on now!
I’m stuck to the dance floor With the, with the whole tape With the, with the, with the whole tape (Let me see you wobble) I’m stuck to the dance floor With the, with the whole tape With the, with the, with the whole tape (Let me see you shake) Give you just what you ask forgivin’ you the whole shake I’ma give you the whole shake (Let me see you wobble) I’m stuck to the dance floor With the, with the whole tape With the, with the, with the whole tape (Can you make it break?)
I say yeah (Yeah) Oh yeah (Oh yeah) (Let me see you wobble) ‘Cause, you do I’ma do too
When I move my body just like this I don’t know why But I feel like freedom (Freedom) I hear a song that takes me back And I let go With so much freedom (Freedom) Free to live (How I wanna live) I’m gon get (What I’m gonna get) ‘Cause it’s my freedom (Freedom)
FREEDOM is one of the songs on Jon Batiste’s new album We Are.
Robot Carnival is a Japanese anthology original video animation released in 1987 by A.P.P.P.. In North America, it was released in 1991 in theaters by Streamline Pictures with the order of the segments slightly rearranged.
The film consists of nine shorts by different well-known directors, many of whom started out as animators with little to no directing experience. Each has a distinctive animation style and story ranging from comedic to dramatic storylines. The music was composed by Joe Hisaishi and Isaku Fujita and arranged by Joe Hisaishi, Isaku Fujita, and Masahisa Takeichi.
The Opening & Ending segments were directed by Katsuhiro Otomo and animated by Atsuko Fukushima.
Franken’s Gears was directed and animated by Koji Morimoto.
Deprive was directed and animated by Hidetoshi Ćmori.
Presence was directed and animated by Yasuomi Umetsu. Additional animation by Shinsuke Terasawa and Hideki Nimura.
Star Light Angel was directed and animated by Hiroyuki Kitazume.
Cloud was directed and animated by Mao Lamdo. Additional animation by Hatsune Ćhashi and Shiho Ćhashi.
Strange Tales of Meiji Machine Culture: Westerner’s Invasion was directed by Hiroyuki Kitakubo and animated by Yoshiyuki Sadamoto, Kazuaki MĆri, Yuji Moriyama and Kumiko Kawana.
Chicken Man and Red Neck was directed and animated by Takashi Nakamura.
Danny Elfman has enlisted Trent Reznor for a remixed version of True, a track off Big Mess, Elfmanâs first solo album in 37 years.
âThis is the first duet/collaboration Iâve ever done in my life, so to do it with Trent was a real surprise and a treat. Heâs always been a big inspiration to me, not to mention he has one of my all-time favorite singing voices.â
– Danny Elfman
Reznor adds industrial flourishes, distortion, and vocals throughout the remix.
The True video also receives a remix of sorts, with the collaboration accompanied by an Aron Johnson-directed visual that combines archived footage from the original Sarah Sitkin-helmed video along with brand new 3D modeling.
Following a string of singles â Happy, Sorry, Love in the Time of Covid, and Kick Me. â in 2020, Elfman released Big Mess in June. The album, recorded during the Covid pandemic, also features a reworking of Insects, originally recorded by Elfmanâs band Oingo Boingo in 1982.
âOnce I began writing, it was like opening a Pandoraâs box and I found I couldnât stop. None of it was planned. I had no idea how many songs I would write but from the start, it quickly became a two-sided project with heavily contrasting and even conflicting tones.â
Animated by Ilinca Höpfner, internationally renowned animator who has worked with Nick Cave and Grinderman.
âNicole Atkins is done playing it safe.â
– Rolling Stone
âIt really evokes Nicole Atkins’ spirit. She is one of those people who is so inventive in everything she does.â
– NPR Music
In each song she creates, Nicole Atkins reveals her incredible power to transport listeners to a much more charmed time and space. On her new album Italian Ice, the New Jersey-bred singer/songwriter conjures the romance and danger and wild magic of a place especially close to her heart: the Jersey Shore in all its scrappy beauty. Inspired by the boardwalkâs many curiositiesâthe crumbling Victorian mansions, the lurid and legendary funhouse, the Asbury Park rock-and-roll scene she played a key part in revivingâAtkins ultimately transforms her never ending fascination into a wonderland of her own making.
âWhen youâre on the boardwalk thereâs a feeling that anything can happen, and thatâs the feeling I tried to create with this record,â Atkins says. âI wanted to give people something they can put on and buy into a fantasy that gets them excited about what might happen in their own lives.â
Joey: Acoustic Guitar, Electric Guitar, Vocals, Synthesiser, Keyboards
Stu: Bass Guitar, Synthesiser
Recorded by King Gizzard in the year 3021
Mixed by Stu Mackenzie
Mastered by Joe Carra
Just on the down low, I’m feeling pretty low. Some days I feel fine. Others⊠I don’t know. I got a sensory road block. I’m in a binary mind lock. So I’m dancing in lockstep to music that I can’t hear.
Failing farmer; toxic crop. Two white hearts to shake shit up. Pay someone to taste, to smell and punch through the dry wall inside my skull. Interior people. A lens flare in my subconscious. The gap of death, I no longer fear. The Interior People.
I keep thinking someone. Is standing beside me. But when I turn to grab âem. They jump back inside of me. They tell me to do things. And so does the radio. And learn from the satellite. That orbits my shadow. Instigate the paradigm. Play the game and drink the wine. Communicate with the afterglow that radiates between the wall.
Failing farmer; toxic crop. Two white hearts to shake shit up. Pay someone to taste, to smell and punch through the dry wall inside my skull.
Interior people. A lens flare in my subconscious. The gap of death, I no longer fear. The Interior People.
Foo Fighters have released a trippy animated music video for their song Chasing Birds, from the bandâs latest album Medicine at Midnight.
The visual builds off of the songâs first lyric (âChasing birds to get high/My head is in the cloudsâ) by depicting Dave Grohl and the rest of the Foos going on a long, strange trip in the desert. After having some fun with the colorful, psychedelic imagery around them, Foo Fighters find themselves entrapped in a dark, spooky cavern â the videoâs version of hell as mentioned in the song. What will help the band release themselves from their mental prison? The power of music, of course.
Foo Fighters released Medicine at Midnight in February, after the album was delayed due to the Covid-19 pandemic. That same month, the band performed a cover of the Bee Geesâ You Should Be Dancing on BBC Radio 2 Sofa Session after Grohl was inspired by the recent Bee Gees documentary. They also performed another Gibb brothersâ classic, Andy Gibbâs Shadow Dancing, during the Rock-N-Relief livestream in March.
– by Claire Shaffer of Rolling Stone Magazine
Animation Director: Emlyn Davies
Animation Co-Director: Josh Hicks
Lead Character Artist: Eder Carfagnini
Character Artists: Mark Proctor, Francis Ogunyanwo
3D Artists: Emlyn Davies, Colin Wood, Rhodri Teifi, Zach F Evans, Josh Hicks, Mark Proctor, Craig Rothwell, Phil Highfield
FX Artists: Colin Wood, Zach F Evans
Lighting: Emlyn Davies, Colin Wood, Rhodri Teifi, Zach F Evans
Lead 3D Animator: Alan Towndrow
3D Animators: Alex Watson, Mervenur Ulcan, Joanna Adamska, BeĂĄta Ujj, Jesiel Almeida, Brian Martinez, Sebastian Pfeifer
Rigging: Alan Towndrow, Gene Magtoto, Dan Dan Kang
Texture Artists: Colin Wood, Rhodri Teifi, Zach F Evans
Character Concepts: Josh Hicks, Guillaume Poitel
Storyboards: Josh Hicks, Mark Proctor
Compositing: Rhodri Teifi, Zach F Evans, Sebastian Pfeifer
Mcbaise lives between London and Auribeau sur siagne and has been described as “probably the best thing to ever come out of Cannes”. he spends most of his time eating pan bagna on the beach. His style is a kind of smooth yachty rock.
Congo Jazz is a Looney Tunes cartoon starring Warner Bros.’ first cartoon star, Bosko. The cartoon was released in September 1930. It was distributed by Warner Bros. and The Vitaphone Corporation. Congo Jazz was the first cartoon to feature Bosko’s falsetto voice that he would use for the bulk of the series’ run. It has the earliest instance of a “trombone gobble” in animation.
In 1927, Harman and Ising were still working for the Walt Disney Studios on a series of live-action/animated short subjects known as the Alice Comedies. The two animators created Bosko in 1927 to capitalize on the new “talkie” craze that was sweeping the motion picture industry. They began thinking about making a sound cartoon with Bosko in 1927, before even leaving Walt Disney. Hugh Harman made drawings of the new character and registered it with the copyright office on 3 January 1928.
After leaving Walt Disney in early 1928, Harman and Ising went to work for Charles Mintz on Universal’s second-season Oswald the Lucky Rabbit cartoons. April 1929 found them moving on again, leaving Universal to market their new cartoon character. In May 1929, they produced a short pilot cartoon, similar to Max Fleischer’s Out of the Inkwell cartoons, Bosko, the Talk-Ink Kid that showcased their ability to animate soundtrack-synchronized speech and dancing. The short, plotless cartoon opens with live action footage of Ising at a drafting table. After he draws Bosko on the page, the character springs to life, talks, sings, and dances. Ising returns Bosko to the inkwell, and the short ends. This short is a landmark in animation history as being the first cartoon to predominantly feature synchronized speech, though Fleischer Studios’ Song Car-Tune My Old Kentucky Home was the first cartoon to contain animated dialogue a few years earlier. This cartoon set Harman and Ising “apart from early Disney sound cartoons because it emphasized not music but dialogue.” The short was marketed to various people by Harman and Ising until Leon Schlesinger offered them a contract to produce a series of cartoons for the Warner Bros. It would not be seen by a wide audience until 71 years later, in 2000, as part of Cartoon Network’s special Toonheads: The Lost Cartoons, a compilation special of rare material from the WB/Turner archives.
In his book, Of Mice and Magic, Leonard Maltin states that this early version of Bosko:
“was in fact a cartoonized version of a young black boy… he spoke in a Southern Negro dialect… in subsequent films this characterization was eschewed, or perhaps forgotten. This could be called sloppiness on the part of Harman and Ising, but it also indicates the uncertain nature of the character itself.”
Angry Inch is a song by Type O Negative, included on the sixth album Life Is Killing Me, released in 2003. It is the cover of the off-Broadway musical Hedwig and the Angry Inch. It is a punkish song reminiscent of I Like Goils or Kill All the White People. This song tributes to the Broadway play about a botched sex-change operation.
This song was written by Stephen Trask, who wrote music for Hedwig and the Angry Inch.
The official song Angry Inch from the movie Hedwig &the Angry Inch composed by Stephen Trask and performed by John Cameron Mitchell.
