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.
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.
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.
Animation and motion design by Bradley Hale. Artwork by Future Shock.
LA garage punk trio L.A.Witch have shared their new single I Wanna Lose.
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.
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.
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!
Check out Jon Batiste on his website at https://www.jonbatiste.com/
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 Ĺmori.
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 Ĺhashi and Shiho Ĺhashi.
Strange Tales of Meiji Machine Culture: Westerner’s Invasion was directed by Hiroyuki Kitakubo and animated by Yoshiyuki Sadamoto, Kazuaki MĹri, 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
– Danny Elfman
Written by Daniel Kreps of Rolling Stone Magazine
Charlie Daniels Band’s The Devil Went Down to Georgia covered by Primus and put to animation.
Animated by Ilinca HĂśpfner, 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
Read more about Nicole Atkins on her website at: https://www.nicoleatkins.com/
Amby: Percussion
Cavs: Drums
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.
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
Editing: Josh Hicks
Written and performed by mcbess
Animated by mcbess
Mixed & recorded by Alexis Muffat-Meridol
Mastered by Alex Gopher
Guest guitar solo by Kamggarn
Graded by Andy at Black Kite Studios
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.
Visit Mcbaise at https://mcbaise.com/
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.
Money, Success, Fame, Glamour is a song performed by musical artist Felix da Housecat for the movie Party Monster starring Macaulay Culkin and Seth Green.
Felix da Housecat is an American DJ and record producer, mostly known for house music and electro. Felix is regarded as a member of the second wave of Chicago house and has produced an eclectic mix of sound since, from resolute acid and techno warrior to avant-garde nu-skool electro-disco.
Party Monster is a 2003 American biographical drama film directed by Fenton Bailey and Randy Barbato, and starring Macaulay Culkin as the drug-addled “king of the Club Kids”. The film tells the story of the rise and fall of the infamous New York City party promoter Michael Alig.
The Club Kids were a group of young New York City dance club personalities popularized by Michael Alig, James St. James, Julie Jewels, DJ Keoki, and Ernie Glam in the late 1980s, and throughout the 1990s would grow to include Amanda Lepore, Waltpaper, Christopher Comp, It Twins, Jennytalia, Desi Monster, Keda, Kabuki Starshine, and Richie Rich.
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