#but I managed to get all my clip studio settings transferred over from my old battlestation

[shadowednavi]

it's been awhile since I've worked on this project! I've had this verse finished for months but didn't want to post it on its own, and instead wait until the whole thing is strung together to show the final result all at once. But I'm tired of holding onto it, so here is one section of my deltarune animation! My art tag has other clips if anyone is interested in seeing more~

(song: "The Hymn of Axciom" by Vienna Teng)

[ageofevermore]

Canyon Moon

Summery: in which Harry dedicates Fine Line to his and your daughter, then brings her on stage to close the show

Words: 1.4k

add yourself to my taglist

Everyone knew that Harry loved being cryptic. Nothing was ever straight with him, and cheekily he claimed that it was because he wasn't straight himself. When you fell pregnant with your daughter, he had suggested you hid it from the media up until her birth, and afterwards the pair of you had broken the internet from your own little pocket of the world back in London.

Goldie, affectionately nicknamed by your husband because of her soft yellow locks, had stolen the media's hearts soon after her birth. It was hard to go a week without ranting and raving about her newborn milestones, though Harry was particularly quiet about his life with the two of you up in England. That all changed after her six month birthday and she had spluttered out a broken apart, Dada.

His social media posting was scattered, a healthy amount of baby Goldie on his feed, though his camera roll was transferred to physical hard drives every few months. When he started writing again, just after Harry Styles was debuted, it was no shock that he had created a studio on the floor of your daughters nursery. Her Montessori toys had been shoved aside, replaced with sound boards and acoustic guitars.

Between late nights at the studio and early mornings in the nursey, Harry hadn't parted ways with his new album, lovingly deemed Fine Line. He had shared with you a few songs, though everything was tightly under wraps. Besides Jeff and Mitch, and a few other song writers, Goldie was the only one to hear every song in full. He got up with her every morning, letting you sleep in well after nine, and serenading her with acoustic versions of her favorite pieces.

Goldie was seventeen months old when Fine Line dropped and debuted number one. Fourteen and a half months dedicated to his sophomore album, he couldn't help but feel emotional when it was released to public criticism. You and Goldie were carried over into the album, his love and affection for his girls cryptically displayed for all to hear and dissect.

Your little love, sweet little Goldie, legally named Indie Anne Styles,  was the star of the first track, and upon hearing it on a flight back home from Miami, your eyes watered and you had to take a few minutes to collect yourself. Canyon Moon had to be your favorite though. It was one of the few concepts he had shared with you after a night of magical love.

When tour started, Goldie was nineteen months and getting a grip on babbling. She wasn't saying much besides the basics, and even then it was gibberish to yours and Harry's ears. She was like him in every way. She loved cuddles, and her once blue eyes had turned a shade as complex as his own. Her hair was still clinging to it's blonde color, relieving your husband to great extents. He couldn't imagine a morning without his little blondie snuggling deep into his chest.

Harry was always soft for your daughter, which played to her advantage as she discovered crocodile tears. Her little lip would tremble every time she didn't get her way, or was unable to express what was wrong, and without fault Harry would scoop her up and smother her with cuddles and kisses. That's what Harry did best, defuse the tantrum with kisses and cuddles.

-

Goldie was a mess in your arms. The bows at the base of her pigtails were displaced, her lips and rosy cheeks were a mess of your lip-gloss from the thousands of kisses she requested, and her little hands refused to leave the neckline of Harry's pink suit.

Fine Line had begun touring months ago, and as promised you and Goldie had joined Harry over in the states after you finished a few shoots for Vouge. Being alongside your husband in the industry made everything easier, you're schedule flexible and light when you needed it to be. You would do anything to be home beside Goldie in the transformative years of her life, and you knew Harry would do the same, which is why his tour bus bedroom was completed with a crib and every venue was stocked with diapers and faux leather changing pads.

"Daddy has to go now, Goldie." You reminded the toddler gently, pulling the purple bow from her hair and clipping it to the neckline of your black shirt. You couldn't afford to lose another bow, unsure of how many sets you could have left. You were sure the number was down to single digits, and neither you or Harry had to time to scramble to the shops for hair accessories — even though your husband adored shopping for your little love, often buying her the most ridiculously priced name brand clothes and shoes.

"Dada." She mumbled, sleepy eyes looking over her fathers features with admiration. She leaned closer, pressing an open moth kiss to his chest. You were still working on the whole kissing concept, but you couldn't deny that her attempts were heart melting.

It took some coaxing and few tears, but you managed to separate the daddy daughter duo. Goldie had been cross with you for a few minutes, little lips pursed and face tucked into your neck, but after hearing the opening of the show through her yellow headset, she lifted her eyes and cooed.

Making your way side stage, you grinned at Harry. The pink suit was your favorite. It complimented his milky skin and brought out the green in his eyes. Your camera roll was overwhelmed with pictures of him in the suit, but recently you had added a snapshot of him and Goldie cuddled up backstage. Your daughter, who you had affectionately nicknamed monkey, had wormed her way into her daddy's hold and buried her little hands in his suit curiously.

"Dada." She mumbled. Your attention had been set on something in the distance, so you didn't notice your husband coming closer with a familiar playboy smirk on his lips. You followed her extended arms to your husband, a small smile on your lips.

He leaned forward when he was close enough, his sweaty lips on yours collecting whatever taste was left of your strawberry lip gloss. Between him and Goldie, you were sure it had been kissed off within five minutes of application.

"Hey, Lovie." He smiled against your lips, bringing the baby into his arms when she began to whine for his attention. "Hi, my Goldie." He muttered affectionately, smoothing his hand over the baby's bare feet. He ticked them a bit, grinning at her belly laughs and squirms. "Mind if I steal her for the last song, Petal?"

"Have at it, Lovie." You muttered back, smiling and waving at your daughter who was clinging to her fathers torso with a wide grin and tired eyes. She had exceeded her bedtime hours ago, but nothing could make Harry's night better then sleepy cuddles right after his show and having her fall asleep on his chest with you in his arms and the buzz of fans leaving the venues.

Harry shushed the excited crowd, fondling Goldie's back as she laid her head down on his shoulder sleepily. She looked so small in his arms, it made your heart ache at the sight of them. You couldn't wait to log into your socials later and see the snaps the fans had captured of your big and little loves.

"Can you say Hi, Goldie?" Harry asks your baby, holding the microphone up to her lips, but all she does is wave tiredly to the crowd. It was the sleepy wave you loved, her little hand opening and closing towards the sea of overexcited humans. Harry had created the best, most supportive environment for your daughter to grow up in, taking the kicking and screaming from closed minded media outlets with a level head. He was everything you wanted Goldie to look up to and more. "She's not very polite." He teased, looking down at the baby with such love you wondered how his heart could still beat. "We're still working on our manors."

"I have one more song for you!" He bellowed into the microphone, fixing the headphones over Goldie's ears when her wiggling moved them. "This is Canyon Moon!"

You hadn't even realized Harry had moved it to the end of his set, but your heart fluttered as his eyes met yours. The same charming smile worked its way onto his lips before he turned towards the microphone, giving his all to a song that bled his undying love for you and everything the two of you had built from scraps of rainbow dreams.

"Gotta see it to believe it, sky never looked so blue..."

[natromanxoff]

I am sure many of you have already read this one but here are some parts from Ash Alexander’s Queen journey for those who haven’t!

“...At some point in early At some point in early 1983 on a visit to Jacky at the QFC, John Deacon wondered into the office. He came into the basement office and said hello as Jacky introduced me, sat down and spent a little time reading through press clippings. He could easily have slipped away back upstairs, but the fact that he stayed was a nice touch.

Another fan club letter arrived with good news. In Another fan club letter arrived with good news. In November 1983, fan club members were invited to help in a video for the new single 'Radio Ga Ga' at Shepperton Studios. Again, my Mum stepped up and drove me down for the day. I took the day off school and had just turned 14. We arrived at the studio and were ushered into a huge hanger where we were kitted out with white body suits and then sprayed with a light grey stripe on each arm - even now I’m not sure what the spray paint was for as you can’t see it in the video. When we had all been prepared, we were taken into an adjoining hanger and were greeted by the band and an initial play through of the song. The rest of the day was spent clapping as you’ll see in the video. I wound up in the front row, opposite Brian. If you look closely and you know what you’re looking for, you can see me!

In between takes, I approached John Deacon who was surprisingly on his own. I remember trying to remain calm as I approached him. I didn’t mention our brief meeting, I asked him how to get a job in recording studios and that I was interested in pursuing a career as a sound engineer. He was really helpful and took time to explain the usual route.

On 22, March 1984 at Limehouse Studios in London’s docklands, the video for ‘I Want To Break Free’ was filmed, again with the help of fan club members. I went along with my brother Andrew. The set was a big dark staircase that we all stood on. We were given black bodysuits this time that were sprouted with hello paint on the arms. We also wore a hard hat with a head lamp attached to it. The band were set in the middle of us all. After all the filming, we returned to the main building where we said hello to Roger. He’d come out to say thanks. Later, waiting for a cab down in reception, Freddie glided down the staircase and past us with his entourage. I remember wanting to get up and say thanks, but the opportunity was missed.

...20th April 1992. My friend Chesney Hawkes was managed by Trinifold. They also managed The Who. He invited me along to the Freddie Mercury Tribute gig at Wembley. Roger Daltry was appearing and Ches had a spare ticket. He only had one backstage pass though. This was overcome by him befriending the chap on the security door. Ches came out to meet me with his pass. He returned on his own and got in. I confidently flashed my pass and entered the Hard Rock tented area. Ches beckoned me over from the other side of the room. He was signing autographs for a lady, her two children and an older lady was with them. He introduce me to them saying I was a huge Queen fan. ‘This is Freddie’s mother' he whispered to me. I remember saying to her that I wish we’d met under different circumstances and how deeply sorry I was about her loss and how incredibly proud she should be. I often wonder about her.

...In Spring 1993, I was in front office. It was well after midnight and I’d left a s session for a little break. As usual, I took a look in the studio diary to see what was coming up. I flicked through the weeks and came upon an booking entry “Studio 3 - QUEEN” for 2 weeks that was pencilled in. There was no further info than that. I put my initials next to the booking thinking there would be a rational explanation as to what the booking really was. I soon found myself on a 2 week session with Queen.My diary from 1993 is lost, so I have only a mental note as to when & what songs were touched upon at this initial stage of 'Made In Heaven'. We started taking delivery of various multitrack tapes on varied formats. These were then transferred to digital 48 track tapes for future work. Roger & John were alone on these sessions as Brian was touring in Japan. I remember Roger being rather dismissive of Brian being unavailable, much like a brother sledging his sibling would do, with a slightly jealous edge but genuine at the same time.

...Over the 2 week session, Roger would suggest we went out for dinner. We had 3 or 4 meals out at a local Italian restaurant. Even now I laugh at jumping into the back of Roger’s Merc and the four of us driving down Abbey Road to the restaurant. It was owned by an Italian lady that would force you to smell her ‘wonderful mushrooms’ from a jar, which she made Roger do. On our initial meal she told Roger he looked familiar. ‘I know you’, she said. ‘Where have I seen you before?’ ‘Well, I’m in a band and we’ve been on TV before.’ Roger replied. John seemed calm with his lack of recognition. ‘What group do you play for?’ she asked. ‘I’m the drummer in a rock n roll band called Queen’ he replied. ‘No - I don’t hear of this band’ …We finished our food and the bill was called for. It showed up. John took it and asked Roger if he should use the Queen card to pay for it or his own card.

Roger’s drum kit arriving half way through the first week of sessions was a surprise for Noel Harris (the engineer) & me. We expected the sessions to be playing back tapes and working through the various formats to find possible material to be worked on at a later date. Noel was unfamiliar with the room in studio 3 and asked my opinion where to set the kit up and what microphones I would use. Eventually he left me to it. The kit was positioned and I mic’d it up that evening. John had his red Fender bass DI’d (no amp was used) and sat with us in the control room. I doubt these recordings made it through to the final mixes, it’s nice to think that they did.

...Tuesday 5th September

During the afternoon Brian’s guitar and a Vox AC30 appeared in the studio, brought in by Pete Malandrone. We were to do guitar overdubs on ‘You Don't Fool Me’. David asked me to put two Shure 421 microphones pointing into the back of the speaker cabinet. We did have two SM57’s on the front but these weren’t used in the recording.

I had to do a recall of the mix, which meant noting all of the studio outboard settings so we could get back to the mix and finish it off.

We had a technical problem with the Sony 3348 tape machine and eventually had it swapped for a new one. Brian clearly wasn’t aware we weren’t ready for him. I was half way through telling him and Jim Beach jumped in and finished off my explanation. Brian got really cross with him and slammed an empty coffee mug down on the studio table. Later Brian was so apologetic for his outburst. He must have told Jim he was sorry 4 times. As I type this I note it was Freddie’s birthday.

Brian slipped on his guitar that was linked to his amp with one lead. No pedals. His sound was instant and we were soon ready to record. He stood in front of the console in the control facing David & me.

Brian had an idea of what he wanted to play. The guitar riff had already been recorded. The solo guitar is what was added. Brian used a scrap of paper that he drew a map of dots on. Not like musical notation but his own short hand. It reminded me of being at the 'Radio Ga Ga' video shoot 13 years earlier. I was the same distance from Brian as I was then, but the scenario was beyond my imagination.

...Friday 8th September

Day Off - I may have met Pete Malandron at the Sun Inn in Barnes this afternoon. The QIFC was based round the corner at the time & Brian had a house there too, although I'm not sure he lived there at the time. I was with a friend and Pete joined us in the pub. He sat near the window and kept looking out of it. I asked what he was looking at and he replied "I always get worried when I'm out with Brian's guitar. It's in the boot of the car you see." He stayed for one drink and decided it was time to leave.

...One of the evenings of this second week, George Michael came to visit. There was a strong possibility that he would sing on one of the songs. Roger, John, Brian, David, George & I sat chatting in the control room. One of the conversations moved onto the Beatles and their current 'best of' release. I think Brian suggested that it was a bad idea releasing all their old material and I piped up that the fans would buy it regardless, much like the scenario Queen were about to face with the imminent release of the album. There was a deathly hush as I realised what I was saying. I wasn’t being at all derogatory. I was helped out of the hole I was digging by George who agreed with me and we moved on. No one actually spoke about doing a vocal. After George left the studio that evening, Roger was clear that he wasn’t keen on the idea.After looking through the Vintage Car garage across the road from the studio one afternoon, Roger saw a black Cadillack convertible that he quite liked. The following morning he came into the studio and said ‘Don’t tell Jim, but I bought the car.’ It was £80, 000.

Brian asked me if had been involved in the Abbey Road Sessions. Perhaps he’d seen my name on the tape boxes. I said that I was. Immediately he made a phone call. I didn’t hear all that he said, but I knew it was about a special thanks on the album credits. The following morning, after the artwork had been finalised, Roger came in and said ‘morning Aardvark’. Because the special thanks were alphabetic, I was on top of the list. It wasn’t until I bought a copy of the album and saw my name on it that I finally took on board that I had actually achieved one of my dreams.”

[alwayswritewithcoffee]

OK, now I'm intrigued. What makes Still one of the best clip episodes to ever air in network television? I think the banter is great, and I find many of the segues very clever. But is there more to it than that? It's my favorite clip episode too, bit it's nice to hear it from someone who knows a thing or two about TV production.

Well, just because I know some stuff about tv production doesn’t mean that my opinion on what episodes are better than others is any more valid than anyone else.

I think one of the reasons Still stands out is because it’s not that common for an hour-long drama to go all in on weaving a clip show into the actual script. It’s been far more common for hour-long television to have a recap episode that airs separately, usually before a season or series finale. Sitcoms are usually the format where the clips are edited into the show, such as the Friends episode where Monica and Chandler tell Rachel, Ross, Phoebe, and Joey that they are planning to move out of the city and they all reminisce about what has happened in their years living together in NYC. (Friends actually did a bunch of clip shows, but that’s the one that always sticks in my head.)

Clip shows are inherently difficult to do, even if they’re meant to be easier on the production budget and the filming schedule. For one, it’s hard to make a compelling story if half your airtime is made up of previous clips. You’ve got to figure out a story that will make sense, find clips that will support that story, and still manage to make it entertaining. For me, most clip shows just come off as cheesy and kind of boring because it almost always revolves around some life-changing event in the course of the show. In the case of Friends, Monica and Chandler deciding to move out of the city was the first step in setting up the fact that show would be ending. Others have used clip shows to send characters off to college or to new jobs that effectively remove them from the weekly narrative.

Then you have to consider why clip shows are often needed in the first place. The practice started with movie studios reusing old footage in new movies to try and save some money, or to recap ongoing short films in the early 1900s in case the audience might have missed the previous installment. Sometimes when clip shows are used, it’s to create what is termed a bottle episode.

If you’ve been in the Castle fandom long enough, you’ve probably heard the term tossed around. What it essentially means is that the production team figured out a way to make an episode on the cheap. Usually, that will mean shooting on stages that they already have, or minimizing/forgoing location shoots and the number of sets that have to be constructed for a specific episode. It also would include avoiding hiring numerous actors to fill out parts called for in the script, and it’s a bonus if you can avoid a bunch of special effects that would also cost money.

In the case of Still, ABC ordered an extra episode very late into the production of season five. And by late I mean that the writer’s room had already plotted out the end of the season and begun work on breaking the story down. Since it was near the end of the season, the budget was also pretty tight, and that meant that the production team had to create an episode by spending minimal money.

I think for me part of the greatness of that episode is that the premise fits seamlessly into the Castle universe. Sometimes clip shows just feel monotonous, and a bit stunted because you are watching an entire episode to get maybe five minutes of character development and an actual plot. With Still, you are dumped into a sweet moment between two people who are very much in love and a moment which fans had long been waiting for but had yet to see on screen. It’s also one of the most intimate interactions between Castle and Beckett in season five, and one of the few in the series that doesn’t take place with an investigation looming over their heads which requires immediate action.

Yes, the banter is great, it never fails to make me laugh to watch Castle needling Beckett about their relationship in an effort to keep her mind off the fact she’s standing on a bomb. The clips interspersed with their dialogue do a great job of backing up the concept of just how far they’ve come and just how head over heels they are for one another. But the thing that always draws me back to the episode is how dedicated Castle is in waiting for Beckett and, as time starts to run out, how quietly desperate he becomes.

In general, Richard Castle isn’t the sort of person that buries his emotion when it comes to Kate Beckett; especially in season five. Even though he spends most of the season downplaying just how far gone he is over her, he also doesn’t ever actively hide that he loves her and worries about her except in this episode. He spends the whole thing being a cheerleader and a distractor, but from the time they are told that they can’t just transfer weight from the pressure plate so that Beckett can step off the bomb, there’s a very quiet level of panic that slowly rises.

And then you’ve got the contrast of Beckett who, while worried at first, isn’t concerned that she might die until she learns about the timer. It scares her, you can see the way her eyes flicker, and her jaw tightens when she finds out, but she downplays it because she knows Castle and she can see that he’s trying to keep his panic on the inside. So, to soothe him (and probably herself), she maintains that stoic nature that she’s developed over her years as a cop. But she also knows that she’s going to die. She knows it from the point that she asks Castle to do something for her and then puts him off until the timer has almost hit zero.

The fact that she calls her dad and leaves him the most matter-of-fact voicemail while standing on a bomb will never fail to mess me up, and then, of course, you have her telling Castle that she loves him. While it’s the first time that she says it on screen for all of us to hear, it’s definitely not the first time she’s told Castle, but when she says it, they both know it might be the last time, and neither of them wants to admit it.

Castle coming back is a whole different discussion that I find fascinating. On some level, he’s walking back into the room with the knowledge that if they are wrong, he’s gonna blow up with her and I think that plays beautifully into some of the nuances of what comes later with Erik Vaughn, the job offer with the Attorney General’s office, and Castle deciding to propose. (Though I freely admit that the entire arc needed another episode to really make it work.)

I love the episode for all of those reasons and then there’s a plot advancement/development when you learn that Gates has known about their relationship all along and just played dumb so they could keep working together. It’s just the icing on the cake of an episode that really could have been phoned in where Beckett stands on a bomb, Castle cracks some jokes until she’s off the bomb, and they go back to business as usual.

Instead, it’s got some layers to it and I just always really enjoy watching it. Even more so when you take into account that Rob Hanning wrote the majority of the episode in two days or so once Marlowe assigned the script to him.

[valiantzombiestudent]

Dj Virtual 8. 5 Free Download Baixaki

Dj Virtual 8. 5 Free Download Baixaki Pc

Baixaki Downloads Baixar

Dj Virtual 8. 5 Free Download Baixaki 2017

Latest Version:

Requirements:

Not included in any soundtrack; however, the name does appear within the metadata of the sound file itself ( /assets/objects/6b/6be4491a5d1a5f0dd68fb36c310ecfe3501cafe1). Aria math mp3 1 hour download. Not included in any soundtrack; however, the name does appear within the metadata of the sound file itself ( /assets/objects/fd/fd8db6a4ceb400e6abafb2a6b3ac53d871910b42)History Music was tested.

Windows XP / Vista / Windows 7 / Windows 8

Author / Product:

The customers can easily transfer audio using drag drop support and get awesome Harmonia, Granular, Innerspace, and many other innovative tools for raising the audio quality. Spectrasonics Omnisphere 2.4 Free Download for Windows either based on 32 bit or 64 bit. Setup file is completely standalone and also its an offline installer. Review of Spectrasonics Omnisphere 2.4Among different audio handling resources, Spectrasonics Omnisphere is an extremely effective and a flexible atmosphere offering lots of valued features at one place. Free omnisphere 2 download windowns.

Next Generation Software / Virtual DJ Studio

Old Versions:

I just want to be able to have a working map that I can customize. Virtual dj 7 download free. I just wish that this worked in either 5.2.x or 6.x.x. PRO Infinity Member since 2009 Hi - Message for Alien Implant. Have mercy on my soul.Inviato Mon 30 Nov 09 @ 3:00 pm.

Filename:

VDJSetup5.3.exe

MD5 Checksum:

Rendering RX plug-ins offline. In any audio or video editing software that offers offline processing of audio clips using plug-ins, you can apply RX noise reduction directly to the problematic clip and render that processing, which will conserve processing power. Some dialogue problems can’t be fixed. Distortion, errant sirens, wind gumming the microphones—it’s impossible. The truth is, with iZotope RX, you can fix all sorts of previously impossible problems. Here are six tips to get you out of a dialogue bind. Can izotope rx be installed on multiple computers for sale. Installation and Authorization Help Mac OS iLok Compatibility Chart; Documents folder issues with iZotope products; Welcome to iZotope Product Portal. How to use iZotope Products on Multiple Machines; iZotope Software Partner Bundles; Uninstalling iZotope Products; Install error: 'can't be opened because it is from an unidentified developer. Once registered with iZotope, you can redeem the third-party products bundled with select iZotope Music Production Suite, Nectar 3, and RX Post Production Suite 3 software. Go to iZotope’s redemption page and select your product for further instructions. IZotope Software & Plug-ins Click here for all support articles. IZotope Spire Click here for all support articles. Exponential Audio Plug-ins Click here for all support articles. My Account Click here to visit your iZotope account.

5e3e2cf9771fe36aa2ea8f1cc41ac91d

Download virtual dj 5 computer for free. Multimedia tools downloads - VirtualDJ PRO Full by Atomix Productions and many more programs are available for instant and free download.

Nov 30, 2019 Virtual DJ is a download software program utilized by DJs to change their turntables as well as CD players, and utilize electronic songs rather than vinyl and also CDs. Similarly that the CD players utilized by DJs have a lot more alternatives than a regular Hi-Fi CD player, Virtual DJ 2018 for Windows has more choices than an easy media player.

Download VirtualDJ 2020.5504 for Windows. Fast downloads of the latest free software! Which VirtualDJ software is the best? Serato DJ Pro is one of the alternatives for VirtualDJ. One of the main problems is it does not have a free version to learn on. Traktor can compete with Virtual as it has as well a free program. This one, however. Jan 24, 2020  Virtual DJ Free 8.4.5478 is available to all software users as a free download for Windows 10 PCs but also without a hitch on Windows 7 and Windows 8. Compatibility with this software may vary, but will generally run fine under Microsoft Windows 10, Windows 8, Windows 8.1, Windows 7, Windows Vista and Windows XP on either a 32-bit or 64-bit setup.

Virtual DJ Studio is the world’s most popular audio and music production tool that brings the process of virtual DJ performance and karaoke presentation to a whole another level. With over 20 years of experience and millions of downloads, Virtual DJ Studio

Dj Virtual 8. 5 Free Download Baixaki Pc

has managed to grow into a leading mixer-board interface app on the current market.

The amount of features that this audio mixing app supports is almost endless, and it covers all the standard DJ tools that are regularly used by both novices and seasoned DJs - management of volume fading, muting, crossfading effects, tempo and pitch controls, 10-band graphic equalizer, spectrum equalizer, full support for external audio plug-ins, playlist management, support for isolated preview mixing, and much more.

Baixaki Downloads Baixar

Karaoke support is handled with great care, with support for a wide variety of Karaoke files, audio discs, MP3, CDG and ZIP files. There is even integration for better handling of Karaoke singers in the crowd around you. The app supports showcasing of future singers that can be displayed on the nearby monitor or TV, and there is even an iOS or Android app that people around you can use to recommend next songs. Virtual DJ Studio is focused on the playback of the already recorded music files. It does not support the mixing of live music, and also it lacks many audio effects, support for pitch modification, VST plug-ins, and the capability to playback video clips. Seasoned and semi-professional DJs and Karaoke will waste no time when adapting to the feature set and interface of the DJ Studio, but novices and first-time users will have to invest some of their time to learn how to take advantage of this app.

Dj Virtual 8. 5 Free Download Baixaki 2017

Features and Highlights

Easy to install and use

Streamlined and highly customizable interface

Full set of audio mixing tools

Auto-crossfade tool makes mixing easy

Fully-featured Karaoke management

Support for all modern versions of Windows (XP, Vista, 7, 8, 8.1 and 10)

FREE to use during the 14-day shareware trial period

While many other similar audio mixing apps are content to give you just a bare minimum of audio controls, the app gives you access to the tools that mimic the entire DJ mixing studio. It cannot handle the mixing of live music, it but it has more than enough tools to enable you to make any musical event a success. With shareware free access to almost all of its capabilities, Virtual DJStudio is a music mixing application that will redefine how you can create music on the fly. Note: 14 days trial version.

[afternoonteawithme]

There was something…strange about his new receptionist.

Standing in his darkroom, Levi leaned against the side of the deep butler’s sink, rinsing the prints he’d just finished developing. His hands knew what they were doing, luckily, as his mind was firmly occupied in thinking about the young man, badly in need of a haircut, currently sitting in his waiting room.

As it had been for most of the last two weeks.

For the first few nights, Levi had been sure the kid would just stop turning up. Each day, he’d unlock the front door a couple minutes before midnight, expecting to find an empty street. And each day, he’d find Eren.

Waiting for him.

Levi figured he knew himself well enough, by now. He didn’t get along with people. He liked being alone, he was used to it. People were irritating, and he never really knew how to deal with the things they said and expected from him.

And yet, he liked being around Eren.

He even cleaned decently well. Not at first, of course, and Levi hadn’t held back in letting him know his technique sucked. Eren might have known how to clean, if you had no standards, but if he planned on cleaning anyplace Levi had to occupy he’d have to do it right.

After one of the assistants Erwin and Hanji had pressed on him had literally run away, sobbing, Levi had decided he’d just do it all himself. But when Hanji had told him to have Eren clean, he’d figured he had nothing to lose since hiring Eren was a favor to her, anyway. If the kid quit it wasn’t going to be his fault.

And then not only had Eren had improved quickly, he also, somehow, seemed to have no problem with Levi teaching him the correct methods to do things. He never even bristled when Levi corrected him, the way he did when any of Levi’s clients or models tried anything with him.

On that front, Levi had to admit he could see why someone would think Eren wasn’t good with people.  

And yet, he was.

It was the strangest thing. Even the ones who started out hating Eren’s guts warmed up to him, if they were around him long enough. For the last week, Alan had stopped by almost every night, bringing Eren samples of his homemade cookies and cupcakes.  Levi hadn’t even known he liked to bake.

And then there was Eren’s effect on Maria Fritz, one of Levi’s models. She had the most remarkable eyes, but it usually took him several hours before he could get her comfortable enough to even look in his direction. She had a hard time relaxing, and he rarely got more than a couple shots he could use, every time he worked with her.

She’d walked into the studio for her first shoot after Eren was hired, laughing. She’d been so relaxed Levi had cancelled his next client and kept her going until past four in the morning – and then he’d walked out into the lobby a half hour later and found her sitting at the counter beside Eren, showing him photos of her dogs.

It wasn’t like the kid was overtly friendly, but people just seemed to slowly gravitate towards him.

And his effect on animals was even more bizarre. Levi had a few he invited in as models, and since the majority of his paying clients were pet owners he’d gotten relatively skilled at dealing with dogs, cats, turtles, birds, lizards, fish, porcupines, pigs, goats, chickens, snakes, spiders, and whatever else people could think of inviting into their homes.

But when Eren was around, they seemed far more interested in him than any other human in the room.  Some seemed a little afraid of him, others acted as if he was their version of catnip. None ever ignored him, and most did whatever he told them to do. It was uncanny.  

Even Gix seemed extraordinarily fascinated by Eren, though he, of course, did not follow his directions. At all.  

As Levi clipped the last of the photos onto the cords he’d had strung over the sink, he wondered if he should have Eren start helping in the studio with the more difficult animals.

The thought made his hands go still. He frowned at the wall, thinking. He hadn’t had an assistant in years, and he wasn’t sure he wanted one, let alone someone that he was already having a hard time not thinking about when he should be working.  

But even with the lighting completely controlled, and most of the backgrounds he used set up so he could operate them alone, he did sometimes feel the lack of hands. Especially when he had a pack of pet mice running around.

He shook his head, and firmly pushed away thoughts of Eren as he turned to put the chemicals away.

The kid was useful, and that was all that he should care about. Levi hadn’t had to answer the phone in two weeks, and his schedule had been running smoothly. There was nothing else to it.

Pressing the cabinet doors shut with a firm click, Levi turned on his heel and headed out to the shower.

 --

Eren was sitting at the front counter, laptop and all his books laid out in front of him, trying to write a paper on neo-classical influences in modern advertising campaigns, when he heard the rumble of pipes in the walls that meant someone was getting into the shower.

His fingers froze over the keys.

And then, with a low groan, he let his head drop down to the keyboard.

He liked this job. A lot. He did not want to screw it up just because he was lusting after his new boss.  

Working for Levi was almost entirely perfect. He dealt well with most of the people that came through, both clients and models, and Levi hadn’t yet fired him for the ones he’d gotten into arguments with. Admittedly, Eren hadn’t actually gotten into any actual physical fights just yet, but that was mostly because he found he liked most of the people Levi dealt with. Levi seemed to have good taste. Or maybe it was something to do with Levi’s bizarre schedule.

And best of all, for Eren’s needs, most of them came through one at a time.

Every now and then, Eren would remember the one and only day he’d lasted after he got transferred from the stock room to customer service at the big department store downtown. He figured he’d been lucky to get fired within the first hour. Any longer and the place would have turned into a literal bloodbath.

It was yet another reason he really needed to keep this job. Head still on his keyboard, Eren mashed his face into the keys, wishing the pain would distract his mind.

Even the cleaning up part wasn’t all that bad, though to call Levi ‘exacting’ would be a drastic understatement. But after the first few nights, when Eren had had to re-clean the bathroom four times over before Levi had been satisfied, he thought he’d started to get the hang of it.

In fact, he’d started to enjoy it. It was a game now - cleaning so well that Levi couldn’t find anything to complain about. He’d felt like he’d won the lottery the first time Levi had walked into the bathroom after Eren had finished, and just nodded, that faint, approving smile warming his face.

The pipes in the walls behind him gurgled noisily, and Eren found himself wondering if Levi cleaned his body as thoroughly as he cleaned rooms.

His mind provided a helpful image, to go with the thought.

With another groan, Eren sat up and flopped back in his seat. He stared at the computer screen in front of him. Why hadn’t he picked something more engrossing? He’d only picked this elective because Mikasa and Armin took the same class, in the daytime, and he’d figured they’d help. He should have picked… he didn’t know what would have been interesting enough to keep him from imagining Levi in the shower.

He’d have to do something. Not only was this the best job he’d ever had, it was also his last chance at making a normal life work. Or, at least as close to normal as something like him could manage. And he knew there was nothing like finding out your new receptionist was lusting after you to make things really, really messy.

Besides, he knew nothing about Levi’s personal life. Hell, the man could be married, for all Eren knew.

Maybe he had a wife sleeping upstairs or something. And he only worked at night because he wanted to spend his days with her.

When the phone rang, breaking into his thoughts, he was so relieved that he forgot to check the display before he answered. He froze, phone halfway up to his ear, eyes shooting to the screen, and then blew out a sigh of relief at the unfamiliar phone number, and not Erwin Smith’s name.

He didn’t know how to handle Erwin. The first time he’d called, he’d sounded so certain that Levi would talk to him that Eren had actually knocked on Levi’s darkroom door before he realized what he was doing. Luckily, Levi had been just finishing up, and he’d seemed to understand when Eren had stammered out an explanation.

He’d just shrugged when he handed the phone back to Eren afterwards, and told him to treat Erwin the same as he did Hanji – as in, say no and hang up.

Which Eren had tried, and failed, to do. Both Hanji and Erwin were too good. So now he just dodged their calls entirely.

But this wasn’t either of them, so he was safe. He cleared his throat. “Levi Ackerman’s phone.”

“Hello?”

The voice was uncertain, hesitant. Probably a new client. Eren stretched a hand out to grab paper and a pen. “Yes, this is Ackerman’s studio?”

“Um. I was told to call this number. To tell someone, I think- Levi? - that he should take photos of my dog? ” The woman blew out a breath. “This strang- uh, unusual person stopped me the other night when I was walking her. They just really seemed to like my dog. She’s pretty old, but she’s a great dog. Drools a lot, but, um.”

“Did the person have really thick eyeglasses, brown hair, pretty tall?”

“Yeah.” The woman sounded relieved, maybe just because of the assurance that they hadn’t imagined Hanji. “They showed me some photos. Really good ones, said Levi took them, and that he’d probably want to take photos of Ymir- my dog. But I don’t have a lot of money, so I wasn’t sure… she really is a great dog though.”

Eren bit his lip. Not only was this probably not a paying client, but it was also someone new. He hadn’t actually scheduled anyone new yet. Levi had told him to use his judgement, but... he really wanted to see this dog, if nothing else.

He could probably cover the fees if Levi wanted to get paid for the shoot. Maybe. He’d risk it.

“Can you come in tomorrow night?”

[wknc881]

Hopscotch Kick Off (Part 1)

As September inches closer by the day, the city of Raleigh starts to prepare itself for that one magical weekend of the month known as Hopscotch Music Festival. This weekend, happening Sept. 7-10, takes over downtown Raleigh as music fans from just about everywhere descend upon the city’s many venues, some even makeshift just for the festival. We here at WKNC look forward to the festival every single year and would like to share with you some of our most anticipated acts for this year in our special Hopscotch kickoff! 

Run the Jewels 

Over the past four years, Hip-Hop has been turned on it’s head by the genre’s super-duo Run the Jewels. Comprised of emcee Killer Mike and producer/emcee El-P, the pair have created an undeniable sound for themselves that originates in their self-titled debut, and has been reinvented twice over on their 2nd and 3rd LP’s. But even more exciting than their studio albums, is the sheer legendary live performance that Run the Jewels has put on for fans all over the country. It only makes sense that Hopscotch would want in on this action, and out of all the amazing acts on the festival’s line-up this year, I am most excited to see RTJ hit the stage.

My favorite tracks from each album include “Banana Clip feat. Big Boi” (Run the Jewels), “Love Again” (Run the Jewels 2), and “Legend Has It” (Run the Jewels 3).

Killer Mike has always been a staple lyricist in Hip-Hop, representing a unique spin on the Atlanta-sound. But after having El-P produce his 2011 album R.A.P. Music, and featuring on El-P’s album Cancer 4 Cure, the two realized the chemistry was perfect, and they toured together to promote these projects. This of course led to 2013’s first release under their new moniker, Run the Jewels. Ever since, they have put on unbelievable live performances, arguably thriving the most successfully at festivals (which is good news for Hopscotch goers).

As Underground Music Director, I have of course promoted every Run the Jewels project, and they continue to be in regular rotation at WKNC, because they encompass the ultimate “Hip-Hop” sound, yet they also reshape it. This year’s performance will be a special treat for me, as I have yet to see them live. The exciting part about seeing a duo is the way they transfer energy back and forth throughout their performance, and I can only assume they have mastered their craft over the last 4 years of touring together. To me, the show just might be, as Run the Jewels would put it, a “Christmas F**king Miracle!”

Run the Jewels will be performing Friday night at 8pm at Red Hat. 

 -John Wilson, Underground Music Director

Cherry Glazerr

Los Angeles’s Cherry Glazzerr is upbeat indie rock with garage rock, punk, and synth pop influences. The band features songwriter Clementine Creevy on guitar and vocals, Tabor Allen on drums, Sasami Ashworth on synth and formed in 2012 when Creevy was just fifteen years old. Their music is an honest display of self expression and offers a modern spirit of the rriot girl movement with frontwoman Clementine’s songwriting themes of feminism and empowerment which can especially be heard in their second album Apocalipstick which came out earlier this year.

Tracks like “Nurse Ratched” feature upbeat garage rock influenced guitar laced in synth, powerful drums, and  strong smooth vocals with socially charged lyrics “She’s a wild one in a land that’s supposed to be free”.

Other tracks have a more self reflective feel such as “Told You I’d Be With the Guys” a reflection of youthful friendships. As well as a more punk influenced sound as Clementine croons with the ferocity of Kathleen Hanna (Bikini Kill) “ I told you, I told you I’d be with the guys, but I know better now than to be with the guys”. Apocalipstick was recorded with the talent of Joe Chicarelli (White Stripes, The Shins, The Strokes) and Carlos de la Garza (Bleached, M83, Tegan and Sara) and released on Secretly Canadian! records.

They are a band not to miss at Hopscotch and will be closing out the Pour House at 12am with a energetic, head-banding, feel good, empowering set.

For fans of: Speedy Ortiz, Diet Cig, Screaming Females  

-Mariam Marand, Local Music Director

Pie Face Girls

Raleigh based trio Pie Face Girls is comprised of Dani Hoffpauir on lead vocals and guitar, Tiffany Huff on bass and Klay Misenheimer on drums. Kicking off the high-energy lineup at Pour House on Saturday, they are sure to cause a stir. Their music is politically motivated with goals aligned against the patriarchy, the “alt-right” and any of their sympathizers. Join these warriors as they tear Trump a new one whilst infecting onlookers with the urge to aggressively move their bodies in solidarity. Their sound is very pop-punk and energizing, some of my favorite songs are “Get On The Floor”, “Dude Yr Girlfriend Sux” and their Peaches cover of “Fuck the Pain Away” (found of their Bandcamp). The Pour House is THE venue to attend Saturday of Hopscotch, with Pie Face Girls getting things started at 9PM and Cherry Glazerr ending the night at midnight.

-Farah Hamouda, DJ sPaRr0vV

serpentwithfeet

I have already seen serpentwithfeet open for Perfume Genius at Cat’s Cradle, but his performance was transformative for me; Josiah Wise, the artist behind the enigmatic music project, weaves together R&B and gospel, creating songs that sound like prayers. Wise is able to piece together the experience of queer love and heartbreak in both a theatrical and intimate way for his listeners. I’m excited to see what he brings to the stage for Hopscotch, since his stage presence demands to be felt, and I couldn’t get enough of his voice. One of the songs I’m most excited to hear (again) is “four ethers” ,an orchestral masterpiece filled with runs of Wise’s voice. During his actual performances, he tend to improvise a lot of his runs, making every show a unique experience.

serpentwithfeet will be performing Saturday night at Nash Hall, 12 p.m. 

-Cas Saroza, Program Director 

Madame Gandhi

You probably heard about the woman who free-bled at the London Marathon, right? She’s also a really neat musician and activist named Madame Gandhi, and she’s playing Hopscotch! Although it was tough to choose with the lineup this year, I’m probably most excited to see Madame Gandhi because I’ve been following her for a couple of years now, and she’s inspired me the whole time. She went on a world tour drumming for M.I.A. while simultaneously attending Harvard Business School through 2015, and she released her first EP, Voices, in late 2016. Additionally, she works with Thinx, a company which makes period underwear, and AfriPads, which produces reusable menstrual pads for people who do not have such products readily accessible. If you’re interested in activism, electronic music, hip-hop, and/or lyrics that *really make you think*, give Voices a listen! The EP is more relaxed than most music that I listen to, but I really enjoy the arrangements throughout it. I’m eager to see what her music is like live and to hear what she has to say. She plays on Friday, September 8, at 11:30pm at Nash Hall. Top tracks include “The Future is Female” and “Yellow Sea,” but they’re definitely all worth checking out!

-Ciera Cipriani, The Fuzz

The Make-Up

When Hopscotch 2017’s lineup came out, there are obviously going to be bands that everyone more or less knows. Then there are those bands that one must discover before the festival. For me, that band was The Make-Up. For many, this band might be one of those bands everyone knows, if you’re of a certain age. The Make-Up released their first album Destination: Love- Live! at Cold Rice the year I was born on the infamous punk/hardcore label Dischord Records. Funny enough, this album isn’t exactly what one might think of when they hear the words punk/hardcore. This album was released on Dischord given the band’s interesting history. Frontman Ian Svenonius and multiple other members of the Make-Up made up 80’s notorious DC hardcore band The Nation of Ulysses. Politically, both bands share a very similar message. Sonically, they are in two different playing fields. The Make-Up will be a band to witness this September at Hopscotch as politics are their bread and butter, right next to making a unique blend of funky, gospel tinged post-punk. They wear their communist, leftist leanings well on their sleeves and are sure to have a few things to say about the current political landscape plaguing America right now. Rest assured, they will still sound amazing with their special live show that calls for audience participation and takes many cues from gospel performances. Be sure to familiarize yourself with this band as they take the City Plaza stage Friday night right before local legends Future Islands.

 -Jamie Halla, General Manager

Make sure you check back in with us on Friday for Part 2 and throughout the next couple of weeks for more coverage! 

[recentanimenews]

So You Think You Can Be an Anime Brand Manager

Before I joined Crunchyroll as part of our events team I spent over a decade at FUNimation (I still have to remember to not use all caps when writing the word ‘FUN’ anymore). During my time there I had a variety of different jobs. One of those jobs early on in my time there was as a Brand Manager. A Brand Manager’s main job (during my time there) was to oversee launches and promotions for DVD releases. This was around the mid to late 2000s, so before streaming became the main way to watch anime and DVD multi-part box sets ruled the land.

  Over the years I worked as a Brand Manager, I and other Brand Managers came across a lot of different experiences with the brands we worked on. Some of these were challenging or at the very least entertaining. The idea came to me that if I find these things entertaining some anime fans might, as well. So I decided to make a workshop to host at conventions about what it was like being a Brand Manager in anime and throw people into some of the more interesting situations that some of us had come across. Of course, I could not share the exact details of these events or any names. Partners stop being your friend-DA when you break your NDA. We had to make a fake anime series, so Ninja Blood War Host Club in Space was born!

Adam in the Brand Manager workshop days! 

Working with some other people in the company we came up with a summary, taglines, general information, and even some art. Now having all these assets I wrote up six different parts of launching a brand and gave each scenario a selection of possible outcomes for people to choose from as how to deal with each situation. I gave the workshop the name, “Shoot The Hostage - An Adventure in Brand Management” to help get people to attend. The term “shoot the hostage” referred to the famous moment from the Keanu Reeves '90s action movie classic Speed, which had the idea of stopping a gunman from taking a hostage by shooting the hostage in the leg so the gunman had to let them go to get away. Basically trying to make the best, but difficult, decision possible in a bad situation. I don’t remember how many conventions I took this to but it was fun to watch people try and tackle a multitude of surprises at each one.

  I have not hosted this workshop in a long time, but found myself thinking about it again recently. I thought it would be fun to share it online now since the anime world has grown so much with streaming, Crunchyroll, and more, making this more of a snapshot of anime brand management from over a decade ago... but I couldn’t find the original file! Pretty sure I lost it on some old hard drive. Then Lauren on our events team reminded me she went to one of these workshops before she worked at Crunchyroll. She still had the original paper copy I handed out to everyone in attendance, and now you have it as well!

I hope you enjoy reading this as much as we enjoyed putting it together. Excited to see what answers you decide to go with for each of the scenarios thrown at you. Now you are the Brand Manager - good luck!

Ninja Blood War Host Club in Space 

  Fact Sheet

Number of episodes: 26 

Release packaging strategy: Two 13-episode box sets, 3 months apart 

Episode running time: 22 minutes 

Licensor: Super-Lucky-Fun-Time! Consortium Project 

Original Production Studio: Kermit 

Rights: DVD, Merchandise, Broadcast, download to own, streaming (5-7 minute clips) 

Possible US retailers: 

Online - Congo.com, Correcthings.com 

Brick & Mortar - Great Purchase, MoonCoast, Ceiling*Mart, and misc. local anime shops 

  Available high-res art:

Character art, 8 images (one of each of the main characters) 

Promo art, 4 images 

Japanese DVD art, 6 images 

Misc. images, 15 images 

  Summary: 

Koyuki witnesses his ninja clan fall to the forces of DREAM, a rogue host club bent on conquering the universe one teenage heart at a time. Led by the impossibly charming Shinji Blue, DREAM waltzes toward galactic domination - until Koyuki infiltrates their ranks, disguised as a transfer student from Gamma Prime. 

  Koyuki abducts Shinji and escapes DREAM's orbital stronghold, but a freak cosmic storm forces a crash landing on Silk-X, an uncharted hot springs world. To get off the planet, the brooding ninja and handsome host must work together to find the ancient Blood Rose. It's definitely not going to be easy. Silk-X's only inhabitants are women -- and the natives are restless! 

  Taglines: 

In space, no one can hear you scream with delight! 

Their Lethal Charm won't be enough. 

    Step #1: Initial Branding - (12 months before street date) 

  All right, you've studied your brand, watched all the episodes, and are familiar with your resources. You're about to sit down with the all the key department heads for the creative kick-off meeting (this is the meeting where the core ideas and plans are first created) and you need to decide who is the demographic (target age range, gender ratio, and general psychograph) as well as start to create an initial brand look. 

  Issues: The brand has an underlying 'cute' storyline and a decent amount of comical moments, but what will reach the largest audience as well as being truest to the brand is focusing on the characters and the action. Everyone does not agree on what would be best to focus on internally. 

  Do you... 

  a) Not care about what they think and move forward with what you want. You are the Brand Manager. Remember, it's your ass on the line. 

  b) Go with the opinion of others in spite of your own since you will have to work with them on this project and you don't need it to be any more difficult than it already is. 

  c) Keep everyone's opinion in mind and not make a final decision on what you want to do until after the meeting. 

  d) Go with what you believe in but be willing to compromise. 

  e) Go with what you believe in and be willing to debate your decision until most everyone agrees. 

    Step #2: DVD Packaging - (10 months before street date) 

  You and the Graphic Artist for the brand are going through the 35 pieces of art that Japan sent over to decide what to use for the two 13-episode box set releases for the show. The original DVD images mostly appeal to people who have already seen the show (It was a big hit on Japanese TV) and you would rather not use them for the covers. Luckily you have explained this to the Licensor and they understand. 

  Issues: Unfortunately, most of these images come with rules on how they are to be used set by the Licensor. Here are the rules - which you got months after licensing the brand:

  All promo art is only to be used for promotional materials. 

5 specific images from the Misc. images group were exclusive to Japanese cell-phone game images and can only be used for cell phone games.  

5 other specific images from the Misc. images group can only be used for calendars.

2 more specific images from the Misc. images group are not to be used at all since the artist who drew them and the director of the series had a 'disagreement.' 

Do not crop or vector any character images.

  This leaves you the 8 pieces of character art for limited use, the 6 original DVD covers you don't think work best for the brand, and 3 Misc. images. These last three images have issues as well since one is from their Christmas special, another is a group shot at the beach, and the last one is a great image but it's horizontal, which US retailers don't like. 

  Do you... 

  a) Pick the two best original Japanese cover images and call it a day. 

  b) Ask for forgiveness, not approval and crop the character images together to create the best DVD covers. 

  c) Work with your Graphic Artist to make the packaging design super amazing and put some of the unchanged character art on the cover. 

  d) Explain to Japan that that they need to provide more artwork, but this will force the street date to move. 

  e) Go with the horizontal image and let your Sales department push it through to the US retailers. 

    Step #3: Media Plan - (6 months before street date) 

  You have finished your media plan for the brand and the print ads are about to start being sent out to publications. The back of the box is still in for approval but you have a picture of the front and spine of the first box set at the bottom of the ad. This is important so that people will know what the box looks like when they go pick it up at their local retailer. 

  Issues: You receive an e-mail from the licensor concerning your ad that reads as follows: 

  "you can not show the font and spine of the box because that would imply that there is a back of the box, and the back of the box is not yet approved.” 

  The print ads have to be at the first four publications within 48 hours. You would call them about this issue but it is Bronze Week, a national holiday, in Japan and your contact won't be back in the office till 5 days from now. 

  Do you... 

  a) Pretend you didn't see this e-mail till after you sent out these ads and hope the licensors don't see them. 

  b) Remove the box from the print ad. 

  c) Use just the front of the box, making it more 2-D, to try and get around the issue. 

  d) Give the ad space to another Brand Manager to use for another brand and rework your media plan.

e) Send out the print ad and explain to the licensor why you decided to ignore their request when they get back. 

  Step #4: Fan Feedback - (4 months before street date) 

  You have distributed your 60-second brand trailer all over the internet for people to get excited about. The trailer was designed to reach your target demographic in both the anime fan and mass-market areas. It is an intro to the series for both those familiar with it or not. 

  Issues: Some of the more hardcore fans do not like that the trailer doesn't show off each and every subplot and underlying storyline throughout the series in those 60 seconds. Adding to the railing of hate that is being posted online about the trailer, most of the fans that don't like the trailer are arguing what the focus of it should be. There seems to be at least six different schools of thought on this issue. 

  Do you... 

  a) Spend the next few days online explaining to the fans why the trailer is the way it is. 

  b) Contact one of the larger anime press websites about sending out your message to the fans that can be summed up as, “screw the little bastards.” 

  c) Re-cut a new trailer taking in account what you think could make it more fan friendly. You will need to cut back on the number of brand trailers you plan to make for the series overall to give the Trailer department time to do this. 

  d) Remove the trailer and post clips from the show earlier than you had planned. 

  e) Do nothing, move forward. 

    Step #5: Convention Events - (3 months before street date) 

  You have been working on a cosplay event for the largest anime/comic/movies convention in the US. You have put together cosplay events in the past and followed the same event creation format for this one. The event is less than 30 days out and almost everything is done and on schedule. 

  Issues: The original creators were not kept in the loop on the event and are now asking for the cosplayers to only use the official Japanese costumes so that only official goods are being used to promote the brand. The biggest problems with this are that there are only 3 official costumes of the 10 characters you need and all the pants have 18" waist measurements. 

  Do you... 

  a) Scrap the event and tell all the cosplayers just to wear official brand t-shirts and pass out flyers instead. 

  b) Let the Events Manager know he can only use the cosplayers in non-official ways and ask for them to come up with an alternative way of making the event work. 

  c) Inform the original creators that its too late to change the event even though this could greatly hurt your relationship with them and the licensor down the road. 

  d) Save the event for a later, but smaller, convention to give you more time to rebuild and redesign to meet the original creator's requests. 

  e) Offer the event to another Brand Manager who could use cosplayers at the convention without any approval issues. 

  Step #6: Product Sample - (2 months before street date) 

  The Inventory department has been working with the manufacturers of the first box set to ensure that all the specification requested are being met. They have just sent over a final product sample for you to take a look at. Please keep in mind that this sample is from the box sets that are, as of 7 days ago, already printing. 

  Issues: The box looks great in almost every way except that the color of one of the show's main characters on the front of the box wrong. His clothing should be white, not tan. You are very aware that pretty much everyone who worked on the show in Japan as well as most of the fans will notice this. 

  Do you... 

  a) Destroy all the boxes printed so far, eat the cost for this, and change the street date to give the manufacturer time to print more. 

  b) Make a running change on all the boxes not printed yet - about 40% of the initial printing. 

  c) Tell the manufacturer they need to fix this, cover the costs, and still make the same date. The downside to this would be if the manufacturer will not agree to do this you would be stuck with a full order of misprinted box sets. 

  d) Make a running change on all the boxes not printed yet and let both the licensor and the fans know of the error and what you are doing to fix it before street date. 

  e) Do not correct the art on the first box since it could stop people from purchasing the DVDs until they find the corrected one. 

  What answers did you choose for each scenario? Let us know how your brand manager experiment went in the comments!

    By: news+feed@crunchyroll.com

[agilenano]

Agilenano - News: We’ve encountered several Steven Spielberg productions in past installments of this series, where Steve was able to turn his talents at producing blockbuster features toward the small screen for mini-epics in the superhero vein

His efforts are far from through, and we will have “close encounters” below with some late episodes of Tiny Toons, as well as several from his next animated showcase, Animaniacs. Also in today’s mix, a panther of odd color, a duck of odd strength, a cat of odd appetite and another of odd bad luck. Odds are, you’ll find something below to your taste. The Just-us League of Supertoons (Warner, Steven Spielberg, Tiny Toon Adventures, 9/15/92) returns Plucky Duck and Hamton Pig to their super alter-egos of Batduck and Decoy. Taking off on DC’s “Justice League”, Batduck receives a call on the hot line from Buster Bunny, alias SuperBun, informing Batduck that the Just-us League has an opening for a new member, and would he like to stop by tonight for an interview. Trying not to appear too anxious, Batduck replies he can probably pencil them in. En route, Plucky dreams of the merchandising opportunities that will come with being a League member, while Hamton dreams of fighting crime alongside the greatest heroes of all time. Plucky, having no interest in the work side of the coin, reacts to Hamton’s dream, “That’s right. Burst my bubble, you little killjoy.” They arrive at League headquarters, leaving their vehicle in the hands of parking valet Montana Max – who in reality is again Wex Wuthor, with another nefarious plan. Inside, Plucky is introduced to the other members besides Buster – Babs Bunny as amazon Wonder Babs, Beeper as Little Dasher (a parallel to the Flash), Sweetie Bird as Pink Canary, Calamity Coyote as Teen Arrow, Shirley as Hawk Loon, and Fifi La Fume as Scentanna. Buster asks what superpowers Batduck brings into the mix, and Plucky boasts of his fearsome image, marvelous gadgets – and he’s also a heck of a clog dancer. The League members lose interest quickly, having been under the impression that he possessed some genuine super power (a bit of a writing slip-up, as the inclusion already in the group of Teen Arrow would mean at least one other member relied upon gadgetry rather than super abilities). Plucky and Hamton are given a thumbs down, and placed on the reject list. Despite resorting to a little groveling, Plucky, along with Hamton, trudge dejectedly back to the parking lot. At this inopportune moment, crashing through the ceiling with a jet pack comes Wex Wuthor. The League is equally unimpressed, knowing that he has no superpowers either. Maybe not now – “But I will once I steal yours”, Wex boasts. He presses a button on his suit, and the League is caught in a stun ray. With another button, he announces that he has invented a “super power transfer thingy”, with which he will absorb the combined powers of the League to become the world’s most powerful criminal. Who should come wandering back into the hall but Plucky, stating that he forgot to get a validation on his parking ticket. Wuthor turns the stun ray on Plucky, and declares he will absorb Batduck’s powers first. Plucky receives a jolt from the second button – but as the process is completed, Wuthor falls out of the sky, and wobbles around shakily, as Buster advises him that all he absorbed were the powers of an egotistical green duck. Plucky adds, “Although no one could absorb my ego all at once”, giving Max a swift kick and landing him in a heap on the floor. The League hails Plucky as a hero, and Plucky narrates that as a result, Batduck and Decoy became “key” men in the Just-us League – in other words, the new parking valets. The Return of Batduck (12/19/92) was actually a pilot episode from the Tiny Tons spinoff, “The Plucky Duck Show” – which died quickly, as no other new episodes appear to have been produced, and the show was merely a schedule-filler compiling old Plucky cartoons from the run of the regular series. A bit too much placed into this half hour for a thorough description, but we’ll try for a flavor. Plucky has landed his own television series (much to the nearly-bored surprise of Buster and Babs), and is attempting to put on a showgirl filled musical extravaganza (though he tumbles down a tall staircase, knocks over giant statues of himself, and collides with his lead showgirl – who is actually Hamton Pig in disguise). Buster and Babs goad him in the wings with a copy of Variety, indicating that Tim Burton is casting a new Batman movie, but getting Plucky’s goat by reminding him he has his show to do instead. Plucky’s ego of course soars through the roof, realizing to himself that he’s feature material, and type-cast for the part in view of his old Batduck roles. He abandons the show and attempts to get on the Warner lot. Hamton is recruited to pose as his agent to make him look legit (though Hamton can’t get agent’s lingo right, quibbling about the improper grammar of the phrase, “Let’s do lunch.”) Little did us kids know when watching this episode that we were being introduced to a character from a series yet to come – Ralph, the security guard from “Animaniacs”, makes what is probably his debut appearance, nine months before the series premiere. As usual, he is no-nonsense about keeping the riff raff like Plucky off the lot, and wraps Plucky up in a string, then uses him as a yo-yo for various tricks, climaxing in “around the world”, as he tosses Plucky into orbit. Plucky does manage a re-entry which finally catches him up with Hamton, and together they plot how to reach Burton’s office (a dark castle shrouded in thunder and lightning on the opposite side of the lot). Plucky produces a map of the studio sewer system with which they can take an underground route to the castle. Hamton is curious where he got such a map, and Plucky points to Art Carney as Ed Norton, selling such maps in the same manner as maps to stars’ homes, with his trademark “Va Va Va Voom”. Hamton asks if there are rats in the sewer. Plucky scoffs that there are no rats, no alligators, no nothin’. At that moment, they are passed by the Teenage Mutant Ninja Turtles. Plucky continues as if he were still in mid-sentence: “…to speak of!” He then breaks the fourth wall, asking the audience, “How many saw that coming?”, and a show of hands raised in front of the camera lens gives the indication, just about everybody. After a string of various celebrity encounters, Plucky finally makes it to Burton’s office. Burton is turning down another applicant, who’s got the “dark” part all right, and a snazzy costume, but just isn’t quite the type – Dracula. The sight of Plucky is enough to make his staff exit screaming, and Burton almost jump out a window, but Plucky appeals to him as a comrade, reminding Tim of his animation background. “We’re cut from the same cel.” To prove it, he zip-pans Burton to a “This is Your Life” studio, and reintroduces him to his horrific high school doodles, who take life and swarm around him. That’s all that Burton can take, and he relents to give Plucky a screen test. Plucky retrieves his and Hamton’s costumes from the old “Duck Cave” set. Hamton activates an inflate-a-duck apparatus to pump muscles into Plucky’s suit – but explodes him instead. Nevertheless, Plucky makes the screen test appointment next morning, repeatedly blowing heroic exits by swinging into walls, dangling helplessly by a plunger grappling hook from the nose of a gargoyle, and using six devices from his utility belt to suspend himself from six buildings at the same time – only to pull all of the buildings down atop himself. Yet Burton gives him the role he was auditioning for – though it’s not quite the one he expected. As Plucky pushes his way through back sets, he encounters someone too big to push – a caricature of Michael Keaton – as the real Batman. Tim welcomes him to the set, and introduces Plucky as his new stunt double! Plucky takes a licking and barely comes out ticking, and bemoans his fate. “Vanity, thy name is Plucky”, he groans, discarding his cowl, and sadly remembering that he could have been on his own show right now. Buster Bunny informs him that actually, he’s still on his own show. “What? How much time is left?”, asks a panicked Plucky. “About ten seconds”, replies Buster. Plucky climbs the tall staircase again, and attempts to resume his musical production number – but a prop mockup of the bat signal falls from the rafters and flattens him, for the iris out. No clip from BATDUCK… but here’s a rare Fox Kids promo he appears in: Pink Pink and Away (1/13/93) marks the premiere of the 1993 revival of “The Pink Panther”, and the first of a 4-episode arc returning the Panther to the role of Super Pink. Unfortunately, the writing and timing are no match for the DePatie-Freleng original, and the episode comes off surprisingly lifeless and lacking in energy or originality. Pink (in talking Matt Frewer mode) takes a few routine pratfalls battling a completely redesigned Dogfather and his mob, first in an ATM robbery, then a diamond heist from a museum. He also saves a wise-guy kid/video game whiz who almost joins the Dogfather for a life or crime, until a double-cross leaves him in the museum jewelry case as substitute weight for the stolen diamond. Pink ultimately foils the robbery by using a spear from a cave man exhibit to bring down a dinosaur skeleton on the crooks. Junior goes straight, and swears to be like Super Pink – donning a duplicate outfit – but then soars off into the sky like a real superhereo. “He’s always doing that”, says his Mom, and soars into the sky after him! Pink tries to make the same exit – and flops on the ground, scratching his head in puzzlement. Super Pink’s Egg-Cellent Adventure (10/17/93) deals with theft of a giant egg, developed to solve the world’s food shortages by a little Germanic professor from the “Super Schmarty Society”. Pink (the building janitor) witnesses the egg‘s theft by a Sumo wrestler and his ninjas, and sees “a job for Super Pink”. They trail the crooks to a chow mein shop, where Pink flies up to a roof skylight (even though the door was open all the time), using the jet power from a giant shaken cola can strapped to his back. Finding a grocery list including ingredients in humongous quantities, he and the professor tail the villains to the only place large enough to fill the order – a “Super” market. The professor attempts to help in the chase by inventing a pair of jet skates he attaches to a shopping cart. The invention goes haywire, leaving management to call for cleanup on nearly every other numbered aisle. The chase leads into a railroad train, and a fight which is seen in blackouts as the train goes through various tunnels – with the last light-up showing our heroes tied back to back. The Sumo announces he’ll show them what he has in store for the egg, and takes them to the roof of a tall skyscraper, where the ninjas place the egg teetering on the ledge of the roof landing. Below in the street, a giant bubbling bowl of liquid and equally giant place setting awaits. Pink realizes that the ingredients list adds up to – egg drop soup! The Sumo states that it is written that he who makes the biggest bowl of egg drop soup shall rulse the world. Panther yawns that he’s read that fortune cookie too. Seeing the crooks’ giant package of soy sauce, Panther whispers to the professor to give it a kick – spilling the slippery stuff on them, and allowing Pink to slip out of his bonds. The crooks are ultimately subdued, but the egg falls off the ledge, with the professor foolishly diving for it and also helplessly falling. Pink produces the professor’s jet skates and puts them on, then grabs two of the ninjas’ swords. He takes off from the roof, using the sword blades as wings, and dives under the professor and the egg, catching them on his back for the rescue. The egg is returned to the auditorium of the society – but doesn’t stay intact for further presentation, as it hatches, producing in the fashion of “Horton” a professor-bird, who runs after the professor, calling him “Daddy” with Germanic accent. “I just love happy endings”, says Panther. The End of Superpink? (10/14/93) begins in unusual artistic form, in a fight scene between Pink and villainous The Wriggler, set against backgrounds where every splash of color is seen in a wide spaced print-style dot matrix. This is because the entire incident is happening only in the pages of the “Super Pink” comic book that Pink has just finished drawing. He tries to drum up customers for the publication at a comic-book convention, but faces the challenges of the reigning super-celebrity, the towering, cleft-chinned Captain Chaos. Vying for press attention from a magazine photographer, Captain Chaos manufactures situations of peril for a junior fan’s kitty kat to stage a daring rescue – but has to deal with the interferences of Pink trying to be legitimately heroic. When Chaos throws the cat into a runaway blimp, he fires a grappling hook to scale into one of the conveyance’s gondola windows – but gets stuck in the porthole. Pink rescues both of them in complicated chain-reaction fashion, including use of a teeterboard and souvenir yo-yo to launch himself skyward to save the day – while the cat takes liberal swipes with his claws at Captain Chaos’s defenseless chin. Pink winds up the center of the magazine story, while Chaos’s only picture is of his butt sticking out of the gondola. Chaos reappears as a chef serving celebration cookies to Pink’s new fanbase, who mob him for the cookie tray. Pink shrugs his shoulders to the reporter: “He needed the work.” Power of Pink (10/29/94) goes altogether too far out. It differs from the others by actually giving Pink temporary super powers, unexplainedly drawn from another food-grow machine of the professor which without explanation instills super energy into a pickle. It also features another caped hero (Amazing Man), who actually is a giant rat in disguise, using a Superman style “Magnetic Telescope” to pull the moon closer to use its gravity to rearrange buildings into giant laboratory mazes for the humans to run. (So why is he posing as a superhero in the first instance?) None of it makes sense, and the situations lack in either cleverness or genuine laughs. Not a recommend. Eex Men (Nelvana, Eek the Cat, 10/9/93) – A completely misnamed episode, as it has nothing to do with the Marvel franchise its title infers, but is a straight Superman-style parody. The opening credits to this show often began showing Eek in a supersuit, rescuing his 300-pound girlfriend from a burning building – but barely able to lift her through the skies, and with his cape on fire from the flames. Yes, the credits were merely a dream. But this time, he gets to do it for real in the episode. Gary Owens (or a very convincing sound-alike) provides narration to give this episode special super-effect. Superpersonman is the reigning hero of the area. Receiving signals in his Bunker of Goodness of the impending approach of super villain and friend of no-one Garbage Man (a burly alien who wears a trash bag over his head), Superpersonman does what any intelligent visitor from another planet would do – telephones his girlfriend Ultra Babe for a quick getaway vacation. But before leaving with his packed suitcases, he realizes he can’t leave the city unguarded, and determines to deputize someone by passing on his cape to them, thus making them feel obligated to take the terrible beating that was intended for himself. Enter Eek, conveniently on a mountain-climbing excursion past the Bunker. Superpersonman, in slow mental spurts, improvises the lamest excuse for his departure – helping his mother get over her case of the plague – and Eek, living by his motto “It never hurts to help”, acquires the cape, and immediately falls off the mountain cliff. He lands in front of a fast food stand (“Ed’s Gopher Guts”), and the “E” falls off its sign onto Eek’s chest, providing the proper alphabetical insignia. The first sign of crime spotted by Eek is two country-bumpkin types fleeing a bank with sacks of money. (No, for once they’re not tellers or bank presidents.) Eek gives them what they deserve – advice. “Hey, you robber guys. Didn’t anyone ever tell you it’s wrong to take something that isn’t yours?” “Well, no, actually, no one ever did”, respond the robbers. Eek takes them back to the bank, and they politely apologize for the mistake, and promise they’ll never do it again. Meanwhile, Garbage Man’s ship parks in a municipal parking lot next to a football stadium. He enters the stadium and turns on a water hose to flood the stadium during a big game. He visits the governor’s mansion, and sets all the clocks an hour backwards, causing the governor to miss an inspection of an “untested and possibly faulty” nuclear power plant, which is started up without him, erupting in a mushroom cloud. Meanwhile, Eek runs into his neighbor Sharkey the shark-dog, who as usual puts the bite on Eek. But with Eek’s new powers, Sharkey’s teeth shatter like glass. He runs to Elmo Elk the dentist, and receives a steel set of dentures – which bend in all directions upon his second chomp on Eek’s paw. Sharkey returns the bent dentures, pulling them down around Elmo’s waist like a hula skirt. Eek begins to notice the effects of Garbage Man’s reign of terror, and reverses the crimes – by blowing the radioactive cloud from the nuclear plant back into a small laboratory bottle – allegedly before those runaway isotopes could have any nasty effects. The lab assistants wave a happy goodbye – although their hands have mutated into ferns. Eek next drains the football stadium dry by sucking up the water in his cheeks – then uses the water to put out the fire of a newly-erupting volcano. Garbage Man observes that Superpersonman may have grown stronger – and furrier – than the last time they did battle, and thus attempts to round-up a variety of weird and improbable minions for an invincible army. They do little to assist, as Garbage Man’s ship, with his minions inside it, is towed from the parking lot for exceeding the maximum parking limit. Eek finally meets Garbage Man, and in his usual peaceful way, asks him in the name of niceness to quit his shenanigans before someone gets hurt. Although no one’s laid a paw on him, Garbage Man cowers as if his very life had been threatened, and pretends to surrender – at least until he can reach the refuge of a getaway helicopter, from which he jeers that he will return and have vengeance. His exit is spoiled, as the copter crashes into a building. He tries it again on a bicycle – and runs into a tree. Once more he departs – on a city bus, but sticks his head out the window for one last taunt, and gets knocked cold as his head collides with a telephone pole. Superpersonman and Ultra Babe return from vacation. Eek, having no idea who Ultra Babe is, assumes she is the mother with the plague he’s been told about, and spills the beans to Ultra Babe on everything Superpersonman did. Babe, shocked that Superpersonman would burden a poor kitty with his job, tells him she’s through with him, and smacks him a super-blow, leaving him in a dazed heap. She invites Eek to Paris for a French dinner – complete with real French Fries – and the two fly off together, as she tosses Superpersonman’s rolled-up cape to the winds. The narrator indicates that it is unknown what became of the cape – but not for long, as a caped Sharkey flies into the shot, holding an American flag, to fight for truth, justice – and whatever sharkdogs fight for. The Cranial Crusader (Warner/Steven Spielberg, Animaniacs (Pinky and the Brain), 3/10/94) – This one’s a bit of a plot stretch – What makes the usually ingenious Brain think that proving himself the world’s greatest crimefighter is his ticket to getting the public to let him take over the world? Nevertheless, that’s the premise. This time, instead of Acme Labs, Pinky and Brain are kept as experimental mice in the crimefighting lab of an ersatz bat-cave, owned by that champion of justice, the Caped Opossum. Such hero leaves “calling cards” with a silhouette and his initials at each scene of his victories against the forces of evil. Though he regularly makes the 11:00 News, the news report reminds him that one arch-villain remains unthwarted – Johnny Badnote (a mad musician, with some attributes of the Joker, but equally likely to have been inspired by the appearance of Liberace as a villain on the original Batman show – said to have brought in the highest ratings in the show’s run). Brain decides to capture this uncapturable foe, leave his own calling card to steal the spotlight from the Opossum, and become the nation’s favorite hero. Pinky, addicted to the Opossum’s comic books, claims to know everything there is to know about being a superhero – and is inducted into service as the Pink Wonder, while Brain takes on the super-identity of the Cranial Crusader. They hijack the Opossummobile and head to a shady warehouse district where Badnote’s hideout is suspected to be. From a vantage point on a high cliff, Pinky suggests using the vehicle’s prehensile tail-grappling hook device to lower the car into the valley below. They hook the tail onto a tree, and begin to lower themselves down on an attached cable. Unfortunately, Pinky has failed to notice that the cable crosses a railroad track – and an oncoming train severs it in two. Brain commands Pinky to fire reverse thruster rockets to break their fall – instead, Pinky ignites forward thrusters, accelerating the car into a crash dive – and a battered wreck. Still, Pinky manages to activate the car’s super-sniffing device (a sort of elephant’s trunk under the hood), which sucks them to the side of one of the warehouses and through the wall. It s the lair of Badnote, who shakes his head at the would-be do-gooders. “Miniature crime fighters. I’ve got to get out more often.” Badnote places the pair into a death trap – the swing of a metronome progressively pulls the pin from an egg-shaped music box which is really a grenade, designed to play a farewell tune, then explode. The explosion will be the downbeat for Badnote to play a pipe organ solo – with the pipes being missiles which will launch upon his hitting the keys, to blow up the capitols of the world. Pinky and Brain are squeezed together inside the diameter of the grenade’s firing pin. Brain is upset enough about this hopeless situation – but what peeves Pinky is that Badnote has left Pinky’s comic book below the base for the grenade, where it will be the first thing damaged by the explosion. Pinky extricates himself from the firing pin, pulling the comic book out, but toppling the grenade in the process (as well as prematurely pulling its pin). The grenade takes several bounces off various musical instruments in Badnote’s collection, then rolls directly under Badnote’s feet as he listens for his downbeat. He gets to hear it all right – in way too high fidelity. Brain pulls Pinky to safety before the explosion occurs, taking care to leave his “C.C.” calling card with his silhouette behind. As the explosion finishes off Badnote’s plans, the impact topples an ink bottle within the lair – which leaves extra blotches of ink on Brain’s calling card, transforming the silhouette into the shape of the Opossum, and the second “C” of the initials into an “O”. When the nightly news report hits, everyone thinks the Opossum was responsible for Badnote’s downfall! Brain abandons all thoughts of superherodom forever, and sets his thoughts toward planning for tomorrow night. Pinky, drawing a comic intended to document the Crusader’s exploits, pens into Brain’s dialogue balloon, “Try to take over the world”. Also from Animaniacs, Super Buttons (5/2/94) is a feature for Buttons and Mindy – a recurring segment spoofing “Lassie”-style heroic dog shows, with wonder dog Buttons laboring endlessly to keep brainless toddler Mindy out of harm’s way – and inevitably aiming all the harm at his own sorry carcass, while never getting the credit for his many rescues. (Basically, this was Spielberg’s tweak of the situations he was used to getting Baby Herman into in the Roger Rabbit cartoons – which itself was a derivative from Popeye’s many rescues of Swee’pea (consider the similarities between Roger Rabbit’s “Rollercoaster Rabbit” and Popeye’s “Thrill of Fair”.) Unfortunately, the Buttons episodes became regularly formulaic. Parents would always leave Buttons in charge of Mindy. Mindy would always be playing some mindless game in the yard, attached to a waist harness to keep her from wandering. Mama would bid her so long, and Mindy would always call her “lady” instead of Mom, ending with standard catch-phrase, “Okay, I love ya. Bye Bye.” Something would attract Mindy’s attention, causing her to get free of the harness and wander away. Buttons would follow, and be exposed to a string of perils. Mindy would find someone to ask an endless series of “Why” questions to, then leave them with her catch-phrase above, finally wandering back to the yard herself. Buttons would be found wearily returning, and get the blame for letting his guard down in watching Mindy. But Mindy would give him a hug, which was supposed to make everything all right. With so many elements identical from episode to episode, the Buttons cartoons, despite occasional clever peril gags, quickly became one of the most repetitious, and sometimes tedious, elements of the show (with the other possible runner-up of Chicken Boo, to be discussed in a later article). This attempt at a new twist doesn’t do much to push the “buttons” in a new direction. The intro is new, allowing for some parody of the Superman exposition. Everyone in the family (Buttons, Mindy, and the parents) are cast as caped superheroes, predicting the Incredibles. Buttons is first seen on a dog race track, as the narrator states, “Faster than a speeding Greyhound.” Buttons indeed passes every dog on the track – but runs head-on into a Greyhound bus traveling the other way. “More powerful than a doberman pinscher.” Button does intimidates a doberman into a dark alley – but once standing in the shadows himself, Buttons finds himself surrounded by dobermans – which is another matter altogether. The “It’s a bird, it’s a plane” bit happens again, with one addition after the crowd realizes it’s Super Buttons – “And he’s not housebroken!”, which causes the crowd to run for cover. The usual plot formula ensues, as Mom and Pop announce to Mindy that they’re taking a little time off from fighting for truth, justice, and the American way. When Mindy again calls Mom, “super-lady”, Mom questions whether Mindy has gotten into some Kryptonite. Mindy escapes her harness by expanding her chest and bursting the straps, then flies into the sky after a small bird. Buttons follows her into a storm cloud – and offers assistance by holding an umbrella over her head. A lightning bolt is attracted to the umbrella like a lightning rod, leaving blackened Buttons to fall into a trash dumpster. The rest of the gags don’t particularly fire off well, including a crossing-busy-city intersection peril where Mindy merely tosses an oncoming bus out of the way, a bank robbery unwittingly foiled by Mindy, while Buttons finds room after room of lit TNT sticks, and a City-Hall encounter with a mutant spider-person (a villain, not a hero – no treading on Marvel territory here). The standard ending, and we’re done. Arbuckle the Invincible (Film Roman, Garfield and Friends, 11/10’94) shares some plot basis with Ducktales’ “Superdoo!” discussed in a previous article. An alien spaceship provides the bauble responsible for providing Jon with super-powers. Two (or perhaps I should say one, as they are joined at the torso) aliens are dispatched to Earth on a mission (though one questions the assignment – “Did they ever get intelligent life there?”), to retrieve a sample of shredded and processed bovine tissue, strewn with aged lactile substance – in other words, a cheeseburger. Encountering a meteor shower, they engage an invisible force field deflector on the nose of their spacecraft. However, one of them turns it off just a bit too soon, as a last meteorite collides with the ship, knocking the glowing deflector orb off the ship’s nose and causing it to fall to Earth. Below, Jon is attempting to hook up a rooftop aerial to get clear reception for a big game. Garfield is sure he’ll see the game clearly – they have great reception in the hospital! He and Odie relax on chaise lounges as ringside seats to watch Jon fall. From above, the orb enters Earth’s atmosphere, and lands with a plunk in the rear pocket of Jon’s trousers. Jon is knocked off balance, and takes the predicted dive off the roof – but merely bobs along a foot or two above the ground as if floating on a cushion of air. A surprised Garfield and Odie “follow the bounding Arbuckle” to see why he isn’t a mangled wreck. Jon is as surprised as they, and announces that he suddenly feels – indestructible. Garfield insists he must have a broken something-or-other, but Jon decides to take this new power to a place where it can be best put to use – a talent agency (lifting from the Three Stooges’ “Souperman”). Unlike the Stooges, Jon successfully demonstrates his abilities to the agent, by having him break a baseball bat over Jin’s head, then drop a ten ton safe upon him, which is merely deflected to crash through the floor. Jon is signed up to perform a stunt of being run over by the railroad’s 4:15 commuter special (which always runs on time at 5:30). As the event is to be televised, Jon decides to spruce himself up – by changing his suit (a bit of the Jetsons here, too). As Jon leaves the house, with the orb still in the pocket of his other trousers, Garfueld and Odie witness the aliens slithering from their ship down the chimney. They intercept the aliens inside, who explain they are seeking their lost deflector, finding it in Jon’s bedroom. Garfield realizes the orb was the source of Jon’s power – then he and Odie perform simultaneous delayed shock takes as they remember what’s about to happen to Jon. At the railroad tracks, Jon signs autographs before the big stunt – and is surprised when the point of a fan’s pen turns out to be sharp enough to prick his finger. A bit slow on the uptake, Jon begins to suspect there may be a flaw in his powers. But it’s too late to back out, as several stagehands are already tying Jon to the tracks, and his manager claims to have already cashed an advance check. Jon struggles helplessly in his bonds, while Garfield and Odie encounter a locked gate and realize there’s no way to reach Jon in time for a rescue. Always practical, Garfield decides not to make the trip a total loss, and escorts Odie to a hamburger stand for a bite to eat. Who do they encounter inside but the aliens, sampling the “bovine tissue”. “Small planet, is it not?” say the aliens. Garfield points out Jon on the restaurant’s TV, and asks if there is any way to save him. The aliens pull out a small remote, and suggest a simple molecular dissolve. At the tracks, as the train zooms toward its target, the ropes binding Jon are suddenly disintegrated, and though the train runs over him, Jon is never touched, and emerges unharmed. In a complete plothole, just to keep Jon from becoming a financial success, the writers unexplainedly have the agent trudge through the shot, informing Jon without explaation, “You’re not getting paid”. (So what happened to the agent’s advance check?) Meanwhile, Garfield and Odie happily chow down at the hamburger stand with the alien, Garfield wishing he had an indestructible stomach, anticipating the effect a few more of these burgers will have upon him. (This episode would lead off the very last show of the Saturday morning series starring Lorenzo Music, and the show’s opening credits commemorate the event with Garfield’s last off-the-cuff comment from the corner of the screen – “After seven seasons we’ve pretty much said everything you can say in this spot.”). Super Strong Warner Siblings (Warmer/Steven Spielberg, Animaniacs, 9/9/95) – The Warner Brothers (and sister) provide a riotous and wicked sendup of then-current juvenile hero squads in “Mighty Morphin Power Rangers” and “Voltron”, with a few additional elements common to other Japanese manga-style live and animated shows of the day. The show opens peaceably enough, with the Warners coming out from behind the show’s logo after the stock opening credits, and complimenting the behind-the-scenes work of their cameraman with almost winning then an Emmy – topped with rewarding him with a bag full of money, just because they’re in a good-natured mood. Far away on an alien planet, they are obseved by an evil sorceress in outlandish costume (including a crown made of a buzzard’s nest), who shouts every dialogue line with rage and non-stop syllables, even when there’s nothing particular to be angry about. (A parallel to series villainess Rita Repulsa from the Power Rangers.) She teleports a squad of ninjas to finish the Warners. Back at the lot, it’s just a typical day, as the Warners entertain a group of children with a song about serendipity. A little girl applauds them, and Yakko presents her with another sack of money. A boy next to her mildly points out, “Hey, I liked your song, too.” Yakko hands him a consolation prize of a fat-free yogurt. The ninjas materialize, and the Warners go into action. Hurtling into a series of choreographed jumps, set to a typical-sounding superhero theme song, and punctuated by repeated unison shouts of “Right”, the Warners assume defensive kung-fu positions, The ninjas fly through the air with feet outstretched in power-kick mode. The Warners respond by each pulling out giant tennis racquets, and each score a “smash” upon their respective opponents into a sound-stage wall, where a crew pasting a billboard of the show’s logo plasters the poster completely over the villains, covering them without a trace. The sorceress spouts more curses on her planet, and casts a spell to magnify a common garden insect into a massive monster. The creature begins devouring and tearing up studio buildings, and destroying others by merely stumbling into them. Meanwhile, the Warners are still busy helping mankind, addressing a meeting at the Center for Advanced Mathematics with equations that will change the world. A distress signal comes in on their Warnet-shield shaped wrist-receivers. They go into their choreography again, receive instructions from a bodyless floating hologram of Otto Von Scratchensniff in the studio psychiatric ward, and lampoon another staple of the day with characters assuming “power of” one species or another, except with odd choices. “Power of the blowfish”, shouts Yakko. “Power of the anteater“, shouts Yakko. “Power of the platypus”, chimes in Dot. They leap into the studio water tower, transforming it into a giant robot. The studio logo from the roof of a sound stage becomes a shield, while they morph a shield-shaped executive board room table into a fighting sword. Their robot battles fiercely with the giant insect, stomping through and destroying sound stage after sound stage, and setting on fire what little is left. They finally pick up the insect in an old wrestling show “helicopter spin” hold above their head, and hurl him into the side of a building, where his powers wear off and he becomes small enough for the giant robot to squash with one foot. Studio mogul Plotz appears, shouting, ”Look what you’ve done to my lot. Do you know how much it’s going to cost to rebuild it?” Rather than reach for a sack of money, Yacko hands Plotz a fat-free yogurt, and Plotz faints dead away. The Warners close with a final warning to kids to just say no to fighting giant bugs, and wave goodbye for the iris out. Superhero Huey (Universal, The Baby Huey Show, 10/21/95, Steve Loter, dir.) – Our scene opens as usual, with out “hero”, Baby Huey, watching his “hero” Buff Duck on TV. The opportunity almost arises for a direct steal from “Willoughby’s Magic Hat”, with a damsel in distress tied directly between two trains approaching in opposite directions on the same track. But Buff Duck does it the easy way, and merely lifts the damsel from the tracks in vertical flight while the trains collide. Papa Duck watches with a bit of disdain as Huey declares Buff is his “one true hero.” Papa asks, “Don’t you have any other heroes, Huey?” “Duh, Mama!”, replies Huey. Growing more expectant of a compliment himself, Papa asks, “Any others?” His ego receives a crushing downfall when Huey replies, “Casper!” “Any living, breathing heroes who happen to be related to you and are sitting right in front of you???” says Papa, his temper rising to a boiling point. “Duh, nope”, relies his dense son. An ad for a Buff Duck super costume inspires Huey to assemble his own super-outfit out of a pollowcase and red flannels, dubbing himself Super Huey. (Cleverly, his “H” insignia on his chest is a shape duplicate of the familiar Harveytoons “H” logo.) Mama reminds Papa that Huey can’t wander off alone to fight crime, so suggests a begrudging Papa spend some quality time with his son. Huey decides Papa can be his “kickside” – Mallard Boy. He converts Pop into costume by ripping his trousers off, leaving him in polka-dotted shorts, then tying a cape on him and slamming a cooking pot on his head for a helmet. Huey searches the backyard. “Hey, crime! Come out, come out, wherever you are.” He spots a kitten stuck in a tree. To keep Huey out of danger in the tree, Papa volunteers for the task. He corners the kitten on a tree limb, when Huey intervenes by bending the end of the limb down, and lifting the cat off to safety. Of course, Papa is still on the limb as Huey allows it to spring back into shape. Papa is catapulted into orbit around the globe about 3 revolurions, and comes down in the middle of an arena with banner reading “Reporter’s Convention”, where he lands face first buried waste deep in the ground, while everyone snaps his picture, making headlines reading “Duck Butt From Mars.” Huey’s next deed of good-doing is to help an old lady across the street. However, as Huey isn’t old enough to cross streets himself, Papa again has to volunteer. He gets halfway into the intersection, and finds traffic so fierce, he climbs aboard the old lady’s shoulders to cower in fear. Huey provides his own super-strength solution, by lifting one end of the asphault strip of crosswalk clear off of the ground, then flipping it like a carpet, allowing Papa and the old lady to ride on the crest of a concrete wave to the opposite corner. The lady lands safe – while Papa again winds up face-deep in the sidewalk upside down – with more reporters taking pictures. Papa’s had enough, and is about to break the news to Huey that superheroes aren’t real, when Heuy spots a helpless snail slowly crossing the tracks in front of a speeding train. This is a job too dangerous even for Mallard Boy, let alone Huey, and Papa tells him to forget it, as there’s no hope for that snail. As he speaks, a railroad crossing gate abruptly lowers, smashing Papa into the ground again (at least head-up this time). Unable to stop his son, he watches helplessly as Huey steps onto the tracks, and strikes a heroic pose with one hand outstretched to stop the train. The scene is nicely played for drama, rapidly intercutting between the speeding train, brave Huey, and sweating Papa. Of course, being the super-strong lummox he was born to be, Huey succeeds in holding the train motionless, picking up the snail from the tracks with his other hand, Papa extricates himself from the ground, runs to the scene, and orders Huey to get away from that train. “Okay, Papa. Hold my snail”, replies obedient Huey. As he is handed the snail, Papa sees the shadow of the train about to be let loose looming over him, and knows where this is going. CRUSH! Papa is flattened, but his hand holds the snail up out of danger. Huey makes the headlines, and receives a hero’s parade, together with Papa in partial traction. Holding the snail in one hand, Papa asks his son, “So, Huey, who’s Buff now?” Before he can receive his belated compliment, he forgets what he is holding in his hand, closing his palm, and crushes the snail into a gooey mess, splatterings from which coat the camera lens to black out the scene. However, we continue to hear Huey’s voice, finally saying, “You are, Papa!” More ducks next week, plus some more exotic species, including a meerkat, beavers, a catgog, and even a giant chicken, just in time for Thanksgiving! The post Reign of the Supertoons (Part 7) appeared first on . #BabyHuey #TinyToons #PinkPanther #AnimationTrails

Agilenano - News from Agilenano from shopsnetwork (4 sites) https://agilenano.com/blogs/news/we-ve-encountered-several-steven-spielberg-productions-in-past-installments-of-this-series-where-steve-was-able-to-turn-his-talents-at-producing-blockbuster-features-toward-the-small-screen-for-mini-epics-in-the-superhero-vein

[agilenano]

Agilenano - News: We’ve encountered several Steven Spielberg productions in past installments of this series, where Steve was able to turn his talents at producing blockbuster features toward the small screen for mini-epics in the superhero vein

His efforts are far from through, and we will have “close encounters” below with some late episodes of Tiny Toons, as well as several from his next animated showcase, Animaniacs. Also in today’s mix, a panther of odd color, a duck of odd strength, a cat of odd appetite and another of odd bad luck. Odds are, you’ll find something below to your taste. The Just-us League of Supertoons (Warner, Steven Spielberg, Tiny Toon Adventures, 9/15/92) returns Plucky Duck and Hamton Pig to their super alter-egos of Batduck and Decoy. Taking off on DC’s “Justice League”, Batduck receives a call on the hot line from Buster Bunny, alias SuperBun, informing Batduck that the Just-us League has an opening for a new member, and would he like to stop by tonight for an interview. Trying not to appear too anxious, Batduck replies he can probably pencil them in. En route, Plucky dreams of the merchandising opportunities that will come with being a League member, while Hamton dreams of fighting crime alongside the greatest heroes of all time. Plucky, having no interest in the work side of the coin, reacts to Hamton��s dream, “That’s right. Burst my bubble, you little killjoy.” They arrive at League headquarters, leaving their vehicle in the hands of parking valet Montana Max – who in reality is again Wex Wuthor, with another nefarious plan. Inside, Plucky is introduced to the other members besides Buster – Babs Bunny as amazon Wonder Babs, Beeper as Little Dasher (a parallel to the Flash), Sweetie Bird as Pink Canary, Calamity Coyote as Teen Arrow, Shirley as Hawk Loon, and Fifi La Fume as Scentanna. Buster asks what superpowers Batduck brings into the mix, and Plucky boasts of his fearsome image, marvelous gadgets – and he’s also a heck of a clog dancer. The League members lose interest quickly, having been under the impression that he possessed some genuine super power (a bit of a writing slip-up, as the inclusion already in the group of Teen Arrow would mean at least one other member relied upon gadgetry rather than super abilities). Plucky and Hamton are given a thumbs down, and placed on the reject list. Despite resorting to a little groveling, Plucky, along with Hamton, trudge dejectedly back to the parking lot. At this inopportune moment, crashing through the ceiling with a jet pack comes Wex Wuthor. The League is equally unimpressed, knowing that he has no superpowers either. Maybe not now – “But I will once I steal yours”, Wex boasts. He presses a button on his suit, and the League is caught in a stun ray. With another button, he announces that he has invented a “super power transfer thingy”, with which he will absorb the combined powers of the League to become the world’s most powerful criminal. Who should come wandering back into the hall but Plucky, stating that he forgot to get a validation on his parking ticket. Wuthor turns the stun ray on Plucky, and declares he will absorb Batduck’s powers first. Plucky receives a jolt from the second button – but as the process is completed, Wuthor falls out of the sky, and wobbles around shakily, as Buster advises him that all he absorbed were the powers of an egotistical green duck. Plucky adds, “Although no one could absorb my ego all at once”, giving Max a swift kick and landing him in a heap on the floor. The League hails Plucky as a hero, and Plucky narrates that as a result, Batduck and Decoy became “key” men in the Just-us League – in other words, the new parking valets. The Return of Batduck (12/19/92) was actually a pilot episode from the Tiny Tons spinoff, “The Plucky Duck Show” – which died quickly, as no other new episodes appear to have been produced, and the show was merely a schedule-filler compiling old Plucky cartoons from the run of the regular series. A bit too much placed into this half hour for a thorough description, but we’ll try for a flavor. Plucky has landed his own television series (much to the nearly-bored surprise of Buster and Babs), and is attempting to put on a showgirl filled musical extravaganza (though he tumbles down a tall staircase, knocks over giant statues of himself, and collides with his lead showgirl – who is actually Hamton Pig in disguise). Buster and Babs goad him in the wings with a copy of Variety, indicating that Tim Burton is casting a new Batman movie, but getting Plucky’s goat by reminding him he has his show to do instead. Plucky’s ego of course soars through the roof, realizing to himself that he’s feature material, and type-cast for the part in view of his old Batduck roles. He abandons the show and attempts to get on the Warner lot. Hamton is recruited to pose as his agent to make him look legit (though Hamton can’t get agent’s lingo right, quibbling about the improper grammar of the phrase, “Let’s do lunch.”) Little did us kids know when watching this episode that we were being introduced to a character from a series yet to come – Ralph, the security guard from “Animaniacs”, makes what is probably his debut appearance, nine months before the series premiere. As usual, he is no-nonsense about keeping the riff raff like Plucky off the lot, and wraps Plucky up in a string, then uses him as a yo-yo for various tricks, climaxing in “around the world”, as he tosses Plucky into orbit. Plucky does manage a re-entry which finally catches him up with Hamton, and together they plot how to reach Burton’s office (a dark castle shrouded in thunder and lightning on the opposite side of the lot). Plucky produces a map of the studio sewer system with which they can take an underground route to the castle. Hamton is curious where he got such a map, and Plucky points to Art Carney as Ed Norton, selling such maps in the same manner as maps to stars’ homes, with his trademark “Va Va Va Voom”. Hamton asks if there are rats in the sewer. Plucky scoffs that there are no rats, no alligators, no nothin’. At that moment, they are passed by the Teenage Mutant Ninja Turtles. Plucky continues as if he were still in mid-sentence: “…to speak of!” He then breaks the fourth wall, asking the audience, “How many saw that coming?”, and a show of hands raised in front of the camera lens gives the indication, just about everybody. After a string of various celebrity encounters, Plucky finally makes it to Burton’s office. Burton is turning down another applicant, who’s got the “dark” part all right, and a snazzy costume, but just isn’t quite the type – Dracula. The sight of Plucky is enough to make his staff exit screaming, and Burton almost jump out a window, but Plucky appeals to him as a comrade, reminding Tim of his animation background. “We’re cut from the same cel.” To prove it, he zip-pans Burton to a “This is Your Life” studio, and reintroduces him to his horrific high school doodles, who take life and swarm around him. That’s all that Burton can take, and he relents to give Plucky a screen test. Plucky retrieves his and Hamton’s costumes from the old “Duck Cave” set. Hamton activates an inflate-a-duck apparatus to pump muscles into Plucky’s suit – but explodes him instead. Nevertheless, Plucky makes the screen test appointment next morning, repeatedly blowing heroic exits by swinging into walls, dangling helplessly by a plunger grappling hook from the nose of a gargoyle, and using six devices from his utility belt to suspend himself from six buildings at the same time – only to pull all of the buildings down atop himself. Yet Burton gives him the role he was auditioning for – though it’s not quite the one he expected. As Plucky pushes his way through back sets, he encounters someone too big to push – a caricature of Michael Keaton – as the real Batman. Tim welcomes him to the set, and introduces Plucky as his new stunt double! Plucky takes a licking and barely comes out ticking, and bemoans his fate. “Vanity, thy name is Plucky”, he groans, discarding his cowl, and sadly remembering that he could have been on his own show right now. Buster Bunny informs him that actually, he’s still on his own show. “What? How much time is left?”, asks a panicked Plucky. “About ten seconds”, replies Buster. Plucky climbs the tall staircase again, and attempts to resume his musical production number – but a prop mockup of the bat signal falls from the rafters and flattens him, for the iris out. No clip from BATDUCK… but here’s a rare Fox Kids promo he appears in: Pink Pink and Away (1/13/93) marks the premiere of the 1993 revival of “The Pink Panther”, and the first of a 4-episode arc returning the Panther to the role of Super Pink. Unfortunately, the writing and timing are no match for the DePatie-Freleng original, and the episode comes off surprisingly lifeless and lacking in energy or originality. Pink (in talking Matt Frewer mode) takes a few routine pratfalls battling a completely redesigned Dogfather and his mob, first in an ATM robbery, then a diamond heist from a museum. He also saves a wise-guy kid/video game whiz who almost joins the Dogfather for a life or crime, until a double-cross leaves him in the museum jewelry case as substitute weight for the stolen diamond. Pink ultimately foils the robbery by using a spear from a cave man exhibit to bring down a dinosaur skeleton on the crooks. Junior goes straight, and swears to be like Super Pink – donning a duplicate outfit – but then soars off into the sky like a real superhereo. “He’s always doing that”, says his Mom, and soars into the sky after him! Pink tries to make the same exit – and flops on the ground, scratching his head in puzzlement. Super Pink’s Egg-Cellent Adventure (10/17/93) deals with theft of a giant egg, developed to solve the world’s food shortages by a little Germanic professor from the “Super Schmarty Society”. Pink (the building janitor) witnesses the egg‘s theft by a Sumo wrestler and his ninjas, and sees “a job for Super Pink”. They trail the crooks to a chow mein shop, where Pink flies up to a roof skylight (even though the door was open all the time), using the jet power from a giant shaken cola can strapped to his back. Finding a grocery list including ingredients in humongous quantities, he and the professor tail the villains to the only place large enough to fill the order – a “Super” market. The professor attempts to help in the chase by inventing a pair of jet skates he attaches to a shopping cart. The invention goes haywire, leaving management to call for cleanup on nearly every other numbered aisle. The chase leads into a railroad train, and a fight which is seen in blackouts as the train goes through various tunnels – with the last light-up showing our heroes tied back to back. The Sumo announces he’ll show them what he has in store for the egg, and takes them to the roof of a tall skyscraper, where the ninjas place the egg teetering on the ledge of the roof landing. Below in the street, a giant bubbling bowl of liquid and equally giant place setting awaits. Pink realizes that the ingredients list adds up to – egg drop soup! The Sumo states that it is written that he who makes the biggest bowl of egg drop soup shall rulse the world. Panther yawns that he’s read that fortune cookie too. Seeing the crooks’ giant package of soy sauce, Panther whispers to the professor to give it a kick – spilling the slippery stuff on them, and allowing Pink to slip out of his bonds. The crooks are ultimately subdued, but the egg falls off the ledge, with the professor foolishly diving for it and also helplessly falling. Pink produces the professor’s jet skates and puts them on, then grabs two of the ninjas’ swords. He takes off from the roof, using the sword blades as wings, and dives under the professor and the egg, catching them on his back for the rescue. The egg is returned to the auditorium of the society – but doesn’t stay intact for further presentation, as it hatches, producing in the fashion of “Horton” a professor-bird, who runs after the professor, calling him “Daddy” with Germanic accent. “I just love happy endings”, says Panther. The End of Superpink? (10/14/93) begins in unusual artistic form, in a fight scene between Pink and villainous The Wriggler, set against backgrounds where every splash of color is seen in a wide spaced print-style dot matrix. This is because the entire incident is happening only in the pages of the “Super Pink” comic book that Pink has just finished drawing. He tries to drum up customers for the publication at a comic-book convention, but faces the challenges of the reigning super-celebrity, the towering, cleft-chinned Captain Chaos. Vying for press attention from a magazine photographer, Captain Chaos manufactures situations of peril for a junior fan’s kitty kat to stage a daring rescue – but has to deal with the interferences of Pink trying to be legitimately heroic. When Chaos throws the cat into a runaway blimp, he fires a grappling hook to scale into one of the conveyance’s gondola windows – but gets stuck in the porthole. Pink rescues both of them in complicated chain-reaction fashion, including use of a teeterboard and souvenir yo-yo to launch himself skyward to save the day – while the cat takes liberal swipes with his claws at Captain Chaos’s defenseless chin. Pink winds up the center of the magazine story, while Chaos’s only picture is of his butt sticking out of the gondola. Chaos reappears as a chef serving celebration cookies to Pink’s new fanbase, who mob him for the cookie tray. Pink shrugs his shoulders to the reporter: “He needed the work.” Power of Pink (10/29/94) goes altogether too far out. It differs from the others by actually giving Pink temporary super powers, unexplainedly drawn from another food-grow machine of the professor which without explanation instills super energy into a pickle. It also features another caped hero (Amazing Man), who actually is a giant rat in disguise, using a Superman style “Magnetic Telescope” to pull the moon closer to use its gravity to rearrange buildings into giant laboratory mazes for the humans to run. (So why is he posing as a superhero in the first instance?) None of it makes sense, and the situations lack in either cleverness or genuine laughs. Not a recommend. Eex Men (Nelvana, Eek the Cat, 10/9/93) – A completely misnamed episode, as it has nothing to do with the Marvel franchise its title infers, but is a straight Superman-style parody. The opening credits to this show often began showing Eek in a supersuit, rescuing his 300-pound girlfriend from a burning building – but barely able to lift her through the skies, and with his cape on fire from the flames. Yes, the credits were merely a dream. But this time, he gets to do it for real in the episode. Gary Owens (or a very convincing sound-alike) provides narration to give this episode special super-effect. Superpersonman is the reigning hero of the area. Receiving signals in his Bunker of Goodness of the impending approach of super villain and friend of no-one Garbage Man (a burly alien who wears a trash bag over his head), Superpersonman does what any intelligent visitor from another planet would do – telephones his girlfriend Ultra Babe for a quick getaway vacation. But before leaving with his packed suitcases, he realizes he can’t leave the city unguarded, and determines to deputize someone by passing on his cape to them, thus making them feel obligated to take the terrible beating that was intended for himself. Enter Eek, conveniently on a mountain-climbing excursion past the Bunker. Superpersonman, in slow mental spurts, improvises the lamest excuse for his departure – helping his mother get over her case of the plague – and Eek, living by his motto “It never hurts to help”, acquires the cape, and immediately falls off the mountain cliff. He lands in front of a fast food stand (“Ed’s Gopher Guts”), and the “E” falls off its sign onto Eek’s chest, providing the proper alphabetical insignia. The first sign of crime spotted by Eek is two country-bumpkin types fleeing a bank with sacks of money. (No, for once they’re not tellers or bank presidents.) Eek gives them what they deserve – advice. “Hey, you robber guys. Didn’t anyone ever tell you it’s wrong to take something that isn’t yours?” “Well, no, actually, no one ever did”, respond the robbers. Eek takes them back to the bank, and they politely apologize for the mistake, and promise they’ll never do it again. Meanwhile, Garbage Man’s ship parks in a municipal parking lot next to a football stadium. He enters the stadium and turns on a water hose to flood the stadium during a big game. He visits the governor’s mansion, and sets all the clocks an hour backwards, causing the governor to miss an inspection of an “untested and possibly faulty” nuclear power plant, which is started up without him, erupting in a mushroom cloud. Meanwhile, Eek runs into his neighbor Sharkey the shark-dog, who as usual puts the bite on Eek. But with Eek’s new powers, Sharkey’s teeth shatter like glass. He runs to Elmo Elk the dentist, and receives a steel set of dentures – which bend in all directions upon his second chomp on Eek’s paw. Sharkey returns the bent dentures, pulling them down around Elmo’s waist like a hula skirt. Eek begins to notice the effects of Garbage Man’s reign of terror, and reverses the crimes – by blowing the radioactive cloud from the nuclear plant back into a small laboratory bottle – allegedly before those runaway isotopes could have any nasty effects. The lab assistants wave a happy goodbye – although their hands have mutated into ferns. Eek next drains the football stadium dry by sucking up the water in his cheeks – then uses the water to put out the fire of a newly-erupting volcano. Garbage Man observes that Superpersonman may have grown stronger – and furrier – than the last time they did battle, and thus attempts to round-up a variety of weird and improbable minions for an invincible army. They do little to assist, as Garbage Man’s ship, with his minions inside it, is towed from the parking lot for exceeding the maximum parking limit. Eek finally meets Garbage Man, and in his usual peaceful way, asks him in the name of niceness to quit his shenanigans before someone gets hurt. Although no one’s laid a paw on him, Garbage Man cowers as if his very life had been threatened, and pretends to surrender – at least until he can reach the refuge of a getaway helicopter, from which he jeers that he will return and have vengeance. His exit is spoiled, as the copter crashes into a building. He tries it again on a bicycle – and runs into a tree. Once more he departs – on a city bus, but sticks his head out the window for one last taunt, and gets knocked cold as his head collides with a telephone pole. Superpersonman and Ultra Babe return from vacation. Eek, having no idea who Ultra Babe is, assumes she is the mother with the plague he’s been told about, and spills the beans to Ultra Babe on everything Superpersonman did. Babe, shocked that Superpersonman would burden a poor kitty with his job, tells him she’s through with him, and smacks him a super-blow, leaving him in a dazed heap. She invites Eek to Paris for a French dinner – complete with real French Fries – and the two fly off together, as she tosses Superpersonman’s rolled-up cape to the winds. The narrator indicates that it is unknown what became of the cape – but not for long, as a caped Sharkey flies into the shot, holding an American flag, to fight for truth, justice – and whatever sharkdogs fight for. The Cranial Crusader (Warner/Steven Spielberg, Animaniacs (Pinky and the Brain), 3/10/94) – This one’s a bit of a plot stretch – What makes the usually ingenious Brain think that proving himself the world’s greatest crimefighter is his ticket to getting the public to let him take over the world? Nevertheless, that’s the premise. This time, instead of Acme Labs, Pinky and Brain are kept as experimental mice in the crimefighting lab of an ersatz bat-cave, owned by that champion of justice, the Caped Opossum. Such hero leaves “calling cards” with a silhouette and his initials at each scene of his victories against the forces of evil. Though he regularly makes the 11:00 News, the news report reminds him that one arch-villain remains unthwarted – Johnny Badnote (a mad musician, with some attributes of the Joker, but equally likely to have been inspired by the appearance of Liberace as a villain on the original Batman show – said to have brought in the highest ratings in the show’s run). Brain decides to capture this uncapturable foe, leave his own calling card to steal the spotlight from the Opossum, and become the nation’s favorite hero. Pinky, addicted to the Opossum’s comic books, claims to know everything there is to know about being a superhero – and is inducted into service as the Pink Wonder, while Brain takes on the super-identity of the Cranial Crusader. They hijack the Opossummobile and head to a shady warehouse district where Badnote’s hideout is suspected to be. From a vantage point on a high cliff, Pinky suggests using the vehicle’s prehensile tail-grappling hook device to lower the car into the valley below. They hook the tail onto a tree, and begin to lower themselves down on an attached cable. Unfortunately, Pinky has failed to notice that the cable crosses a railroad track – and an oncoming train severs it in two. Brain commands Pinky to fire reverse thruster rockets to break their fall – instead, Pinky ignites forward thrusters, accelerating the car into a crash dive – and a battered wreck. Still, Pinky manages to activate the car’s super-sniffing device (a sort of elephant’s trunk under the hood), which sucks them to the side of one of the warehouses and through the wall. It s the lair of Badnote, who shakes his head at the would-be do-gooders. “Miniature crime fighters. I’ve got to get out more often.” Badnote places the pair into a death trap – the swing of a metronome progressively pulls the pin from an egg-shaped music box which is really a grenade, designed to play a farewell tune, then explode. The explosion will be the downbeat for Badnote to play a pipe organ solo – with the pipes being missiles which will launch upon his hitting the keys, to blow up the capitols of the world. Pinky and Brain are squeezed together inside the diameter of the grenade’s firing pin. Brain is upset enough about this hopeless situation – but what peeves Pinky is that Badnote has left Pinky’s comic book below the base for the grenade, where it will be the first thing damaged by the explosion. Pinky extricates himself from the firing pin, pulling the comic book out, but toppling the grenade in the process (as well as prematurely pulling its pin). The grenade takes several bounces off various musical instruments in Badnote’s collection, then rolls directly under Badnote’s feet as he listens for his downbeat. He gets to hear it all right – in way too high fidelity. Brain pulls Pinky to safety before the explosion occurs, taking care to leave his “C.C.” calling card with his silhouette behind. As the explosion finishes off Badnote’s plans, the impact topples an ink bottle within the lair – which leaves extra blotches of ink on Brain’s calling card, transforming the silhouette into the shape of the Opossum, and the second “C” of the initials into an “O”. When the nightly news report hits, everyone thinks the Opossum was responsible for Badnote’s downfall! Brain abandons all thoughts of superherodom forever, and sets his thoughts toward planning for tomorrow night. Pinky, drawing a comic intended to document the Crusader’s exploits, pens into Brain’s dialogue balloon, “Try to take over the world”. Also from Animaniacs, Super Buttons (5/2/94) is a feature for Buttons and Mindy – a recurring segment spoofing “Lassie”-style heroic dog shows, with wonder dog Buttons laboring endlessly to keep brainless toddler Mindy out of harm’s way – and inevitably aiming all the harm at his own sorry carcass, while never getting the credit for his many rescues. (Basically, this was Spielberg’s tweak of the situations he was used to getting Baby Herman into in the Roger Rabbit cartoons – which itself was a derivative from Popeye’s many rescues of Swee’pea (consider the similarities between Roger Rabbit’s “Rollercoaster Rabbit” and Popeye’s “Thrill of Fair”.) Unfortunately, the Buttons episodes became regularly formulaic. Parents would always leave Buttons in charge of Mindy. Mindy would always be playing some mindless game in the yard, attached to a waist harness to keep her from wandering. Mama would bid her so long, and Mindy would always call her “lady” instead of Mom, ending with standard catch-phrase, “Okay, I love ya. Bye Bye.” Something would attract Mindy’s attention, causing her to get free of the harness and wander away. Buttons would follow, and be exposed to a string of perils. Mindy would find someone to ask an endless series of “Why” questions to, then leave them with her catch-phrase above, finally wandering back to the yard herself. Buttons would be found wearily returning, and get the blame for letting his guard down in watching Mindy. But Mindy would give him a hug, which was supposed to make everything all right. With so many elements identical from episode to episode, the Buttons cartoons, despite occasional clever peril gags, quickly became one of the most repetitious, and sometimes tedious, elements of the show (with the other possible runner-up of Chicken Boo, to be discussed in a later article). This attempt at a new twist doesn’t do much to push the “buttons” in a new direction. The intro is new, allowing for some parody of the Superman exposition. Everyone in the family (Buttons, Mindy, and the parents) are cast as caped superheroes, predicting the Incredibles. Buttons is first seen on a dog race track, as the narrator states, “Faster than a speeding Greyhound.” Buttons indeed passes every dog on the track – but runs head-on into a Greyhound bus traveling the other way. “More powerful than a doberman pinscher.” Button does intimidates a doberman into a dark alley – but once standing in the shadows himself, Buttons finds himself surrounded by dobermans – which is another matter altogether. The “It’s a bird, it’s a plane” bit happens again, with one addition after the crowd realizes it’s Super Buttons – “And he’s not housebroken!”, which causes the crowd to run for cover. The usual plot formula ensues, as Mom and Pop announce to Mindy that they’re taking a little time off from fighting for truth, justice, and the American way. When Mindy again calls Mom, “super-lady”, Mom questions whether Mindy has gotten into some Kryptonite. Mindy escapes her harness by expanding her chest and bursting the straps, then flies into the sky after a small bird. Buttons follows her into a storm cloud – and offers assistance by holding an umbrella over her head. A lightning bolt is attracted to the umbrella like a lightning rod, leaving blackened Buttons to fall into a trash dumpster. The rest of the gags don’t particularly fire off well, including a crossing-busy-city intersection peril where Mindy merely tosses an oncoming bus out of the way, a bank robbery unwittingly foiled by Mindy, while Buttons finds room after room of lit TNT sticks, and a City-Hall encounter with a mutant spider-person (a villain, not a hero – no treading on Marvel territory here). The standard ending, and we’re done. Arbuckle the Invincible (Film Roman, Garfield and Friends, 11/10’94) shares some plot basis with Ducktales’ “Superdoo!” discussed in a previous article. An alien spaceship provides the bauble responsible for providing Jon with super-powers. Two (or perhaps I should say one, as they are joined at the torso) aliens are dispatched to Earth on a mission (though one questions the assignment – “Did they ever get intelligent life there?”), to retrieve a sample of shredded and processed bovine tissue, strewn with aged lactile substance – in other words, a cheeseburger. Encountering a meteor shower, they engage an invisible force field deflector on the nose of their spacecraft. However, one of them turns it off just a bit too soon, as a last meteorite collides with the ship, knocking the glowing deflector orb off the ship’s nose and causing it to fall to Earth. Below, Jon is attempting to hook up a rooftop aerial to get clear reception for a big game. Garfield is sure he’ll see the game clearly – they have great reception in the hospital! He and Odie relax on chaise lounges as ringside seats to watch Jon fall. From above, the orb enters Earth’s atmosphere, and lands with a plunk in the rear pocket of Jon’s trousers. Jon is knocked off balance, and takes the predicted dive off the roof – but merely bobs along a foot or two above the ground as if floating on a cushion of air. A surprised Garfield and Odie “follow the bounding Arbuckle” to see why he isn’t a mangled wreck. Jon is as surprised as they, and announces that he suddenly feels – indestructible. Garfield insists he must have a broken something-or-other, but Jon decides to take this new power to a place where it can be best put to use – a talent agency (lifting from the Three Stooges’ “Souperman”). Unlike the Stooges, Jon successfully demonstrates his abilities to the agent, by having him break a baseball bat over Jin’s head, then drop a ten ton safe upon him, which is merely deflected to crash through the floor. Jon is signed up to perform a stunt of being run over by the railroad’s 4:15 commuter special (which always runs on time at 5:30). As the event is to be televised, Jon decides to spruce himself up – by changing his suit (a bit of the Jetsons here, too). As Jon leaves the house, with the orb still in the pocket of his other trousers, Garfueld and Odie witness the aliens slithering from their ship down the chimney. They intercept the aliens inside, who explain they are seeking their lost deflector, finding it in Jon’s bedroom. Garfield realizes the orb was the source of Jon’s power – then he and Odie perform simultaneous delayed shock takes as they remember what’s about to happen to Jon. At the railroad tracks, Jon signs autographs before the big stunt – and is surprised when the point of a fan’s pen turns out to be sharp enough to prick his finger. A bit slow on the uptake, Jon begins to suspect there may be a flaw in his powers. But it’s too late to back out, as several stagehands are already tying Jon to the tracks, and his manager claims to have already cashed an advance check. Jon struggles helplessly in his bonds, while Garfield and Odie encounter a locked gate and realize there’s no way to reach Jon in time for a rescue. Always practical, Garfield decides not to make the trip a total loss, and escorts Odie to a hamburger stand for a bite to eat. Who do they encounter inside but the aliens, sampling the “bovine tissue”. “Small planet, is it not?” say the aliens. Garfield points out Jon on the restaurant’s TV, and asks if there is any way to save him. The aliens pull out a small remote, and suggest a simple molecular dissolve. At the tracks, as the train zooms toward its target, the ropes binding Jon are suddenly disintegrated, and though the train runs over him, Jon is never touched, and emerges unharmed. In a complete plothole, just to keep Jon from becoming a financial success, the writers unexplainedly have the agent trudge through the shot, informing Jon without explaation, “You’re not getting paid”. (So what happened to the agent’s advance check?) Meanwhile, Garfield and Odie happily chow down at the hamburger stand with the alien, Garfield wishing he had an indestructible stomach, anticipating the effect a few more of these burgers will have upon him. (This episode would lead off the very last show of the Saturday morning series starring Lorenzo Music, and the show’s opening credits commemorate the event with Garfield’s last off-the-cuff comment from the corner of the screen – “After seven seasons we’ve pretty much said everything you can say in this spot.”). Super Strong Warner Siblings (Warmer/Steven Spielberg, Animaniacs, 9/9/95) – The Warner Brothers (and sister) provide a riotous and wicked sendup of then-current juvenile hero squads in “Mighty Morphin Power Rangers” and “Voltron”, with a few additional elements common to other Japanese manga-style live and animated shows of the day. The show opens peaceably enough, with the Warners coming out from behind the show’s logo after the stock opening credits, and complimenting the behind-the-scenes work of their cameraman with almost winning then an Emmy – topped with rewarding him with a bag full of money, just because they’re in a good-natured mood. Far away on an alien planet, they are obseved by an evil sorceress in outlandish costume (including a crown made of a buzzard’s nest), who shouts every dialogue line with rage and non-stop syllables, even when there’s nothing particular to be angry about. (A parallel to series villainess Rita Repulsa from the Power Rangers.) She teleports a squad of ninjas to finish the Warners. Back at the lot, it’s just a typical day, as the Warners entertain a group of children with a song about serendipity. A little girl applauds them, and Yakko presents her with another sack of money. A boy next to her mildly points out, “Hey, I liked your song, too.” Yakko hands him a consolation prize of a fat-free yogurt. The ninjas materialize, and the Warners go into action. Hurtling into a series of choreographed jumps, set to a typical-sounding superhero theme song, and punctuated by repeated unison shouts of “Right”, the Warners assume defensive kung-fu positions, The ninjas fly through the air with feet outstretched in power-kick mode. The Warners respond by each pulling out giant tennis racquets, and each score a “smash” upon their respective opponents into a sound-stage wall, where a crew pasting a billboard of the show’s logo plasters the poster completely over the villains, covering them without a trace. The sorceress spouts more curses on her planet, and casts a spell to magnify a common garden insect into a massive monster. The creature begins devouring and tearing up studio buildings, and destroying others by merely stumbling into them. Meanwhile, the Warners are still busy helping mankind, addressing a meeting at the Center for Advanced Mathematics with equations that will change the world. A distress signal comes in on their Warnet-shield shaped wrist-receivers. They go into their choreography again, receive instructions from a bodyless floating hologram of Otto Von Scratchensniff in the studio psychiatric ward, and lampoon another staple of the day with characters assuming “power of” one species or another, except with odd choices. “Power of the blowfish”, shouts Yakko. “Power of the anteater“, shouts Yakko. “Power of the platypus”, chimes in Dot. They leap into the studio water tower, transforming it into a giant robot. The studio logo from the roof of a sound stage becomes a shield, while they morph a shield-shaped executive board room table into a fighting sword. Their robot battles fiercely with the giant insect, stomping through and destroying sound stage after sound stage, and setting on fire what little is left. They finally pick up the insect in an old wrestling show “helicopter spin” hold above their head, and hurl him into the side of a building, where his powers wear off and he becomes small enough for the giant robot to squash with one foot. Studio mogul Plotz appears, shouting, ”Look what you’ve done to my lot. Do you know how much it’s going to cost to rebuild it?” Rather than reach for a sack of money, Yacko hands Plotz a fat-free yogurt, and Plotz faints dead away. The Warners close with a final warning to kids to just say no to fighting giant bugs, and wave goodbye for the iris out. Superhero Huey (Universal, The Baby Huey Show, 10/21/95, Steve Loter, dir.) – Our scene opens as usual, with out “hero”, Baby Huey, watching his “hero” Buff Duck on TV. The opportunity almost arises for a direct steal from “Willoughby’s Magic Hat”, with a damsel in distress tied directly between two trains approaching in opposite directions on the same track. But Buff Duck does it the easy way, and merely lifts the damsel from the tracks in vertical flight while the trains collide. Papa Duck watches with a bit of disdain as Huey declares Buff is his “one true hero.” Papa asks, “Don’t you have any other heroes, Huey?” “Duh, Mama!”, replies Huey. Growing more expectant of a compliment himself, Papa asks, “Any others?” His ego receives a crushing downfall when Huey replies, “Casper!” “Any living, breathing heroes who happen to be related to you and are sitting right in front of you???” says Papa, his temper rising to a boiling point. “Duh, nope”, relies his dense son. An ad for a Buff Duck super costume inspires Huey to assemble his own super-outfit out of a pollowcase and red flannels, dubbing himself Super Huey. (Cleverly, his “H” insignia on his chest is a shape duplicate of the familiar Harveytoons “H” logo.) Mama reminds Papa that Huey can’t wander off alone to fight crime, so suggests a begrudging Papa spend some quality time with his son. Huey decides Papa can be his “kickside” – Mallard Boy. He converts Pop into costume by ripping his trousers off, leaving him in polka-dotted shorts, then tying a cape on him and slamming a cooking pot on his head for a helmet. Huey searches the backyard. “Hey, crime! Come out, come out, wherever you are.” He spots a kitten stuck in a tree. To keep Huey out of danger in the tree, Papa volunteers for the task. He corners the kitten on a tree limb, when Huey intervenes by bending the end of the limb down, and lifting the cat off to safety. Of course, Papa is still on the limb as Huey allows it to spring back into shape. Papa is catapulted into orbit around the globe about 3 revolurions, and comes down in the middle of an arena with banner reading “Reporter’s Convention”, where he lands face first buried waste deep in the ground, while everyone snaps his picture, making headlines reading “Duck Butt From Mars.” Huey’s next deed of good-doing is to help an old lady across the street. However, as Huey isn’t old enough to cross streets himself, Papa again has to volunteer. He gets halfway into the intersection, and finds traffic so fierce, he climbs aboard the old lady’s shoulders to cower in fear. Huey provides his own super-strength solution, by lifting one end of the asphault strip of crosswalk clear off of the ground, then flipping it like a carpet, allowing Papa and the old lady to ride on the crest of a concrete wave to the opposite corner. The lady lands safe – while Papa again winds up face-deep in the sidewalk upside down – with more reporters taking pictures. Papa’s had enough, and is about to break the news to Huey that superheroes aren’t real, when Heuy spots a helpless snail slowly crossing the tracks in front of a speeding train. This is a job too dangerous even for Mallard Boy, let alone Huey, and Papa tells him to forget it, as there’s no hope for that snail. As he speaks, a railroad crossing gate abruptly lowers, smashing Papa into the ground again (at least head-up this time). Unable to stop his son, he watches helplessly as Huey steps onto the tracks, and strikes a heroic pose with one hand outstretched to stop the train. The scene is nicely played for drama, rapidly intercutting between the speeding train, brave Huey, and sweating Papa. Of course, being the super-strong lummox he was born to be, Huey succeeds in holding the train motionless, picking up the snail from the tracks with his other hand, Papa extricates himself from the ground, runs to the scene, and orders Huey to get away from that train. “Okay, Papa. Hold my snail”, replies obedient Huey. As he is handed the snail, Papa sees the shadow of the train about to be let loose looming over him, and knows where this is going. CRUSH! Papa is flattened, but his hand holds the snail up out of danger. Huey makes the headlines, and receives a hero’s parade, together with Papa in partial traction. Holding the snail in one hand, Papa asks his son, “So, Huey, who’s Buff now?” Before he can receive his belated compliment, he forgets what he is holding in his hand, closing his palm, and crushes the snail into a gooey mess, splatterings from which coat the camera lens to black out the scene. However, we continue to hear Huey’s voice, finally saying, “You are, Papa!” More ducks next week, plus some more exotic species, including a meerkat, beavers, a catgog, and even a giant chicken, just in time for Thanksgiving! The post Reign of the Supertoons (Part 7) appeared first on . #BabyHuey #TinyToons #PinkPanther #AnimationTrails

Agilenano - News from Agilenano from shopsnetwork (4 sites) http://feedproxy.google.com/~r/Agilenano-News/~3/-ikWk9B0yGs/we-ve-encountered-several-steven-spielberg-productions-in-past-installments-of-this-series-where-steve-was-able-to-turn-his-talents-at-producing-blockbuster-features-toward-the-small-screen-for-mini-epics-in-the-superhero-vein