#wild hare studios

[leviabeat]

Michael shows off a vinyl haul. Mercyful Fate, The Cramps, and Junior Parker, James Cotton and Pat Hare (featuring Elvis Presley on their cover).

Source: NoiseCreep.

[thislovintime]

"Lady's Baby" (Tork) alternate vocal [More on YouTube.] Photo 1 in this video by Nurit Wilde, photo 2 by Bridgeman Images.

"[At the Troubadour, Peter] sang one of his new songs, ‘Lady’s Baby,’ and was called back for an encore." - Disc and Music Echo, May 18, 1968 (x)

“Peter isn’t sure what he’s going to do now [that he has left The Monkees], but he’s feeling free for the first time in months. Toward the end of the Monkees’ run at Screen Gems, Peter said they’d go into recording sessions and not even speak to each other much less play together.” - Circus, June 1969

“[Davy] got sick of banging the tambourine all day long. And [Micky] lost faith in himself. He never did believe he was a decent drummer, so he didn't want to do it anymore. Mike wanted to produce his own records. He wanted to have total control. I was the only one who believed in the group per se, and so there I was all by myself, wanting a group, with nobody to be a group with.” - Peter Tork, When The Music Mattered (1984)

“Taking the expression of following one’s muse quite literally, [Peter] sought to re-create in the studio the very environment that inspired him to compose the song. This endeavor included having a recording engineer crawl on the ground after young Justin to capture real-life ‘smiles and coos’ (as in the song’s lyrics). Both lady and baby giggled and squeaked through hours of expensive recording time, which seemed to infuriate some members of the band and their musical coordinator, the late Lester Sill. ‘“Lady’s Baby” was a very weird and ridiculous situation,’ recalls engineer Hank Cicalo. ‘To accommodate Peter at the time, he wanted to do this thing and he wanted it to be real spacey. So what we did was we set up the studio and brought rugs in and made a little room with pillows. He would bring his friends in and they’d sit around and he’d play a little bit. It was pretty outrageous: days and days of doing the same piece of material. ‘They would just sit around for hours and drink wine and carry on, and try to get takes of this tune. Maybe we would make one or two takes. It was OK for me as an engineer because it was like taxi time. But he wouldn’t take any help from anybody. At this point in time I thought my communication with the guys was pretty good, and I could talk to them and whatever else. There were a couple of times he got a little hot about doing this. I’d say, ‘Hey, you’re wasting a lot of time. Either we do this track, or we get on with it.’ We must have done a hundred takes on that thing. He sort of went off on his own in a lot of ways. And there was a little resentment between the guys in not working together.’” - The Birds, The Bees & The Monkees box set liner notes

“Hey listen, fair is fair. They laugh and joke about that [‘Lady’s Baby’]. OK, it cost as much to do I think as ‘Good Vibrations.’ They were laughing about Peter Tork, but that [song] is a true-to-life thing. He was living with a woman [Karen Harvey] at the time and she had a little baby [Justin Hammer] and that changed his life, you know? That gave him something to think about. He was being downtrodden by the studio in regard to his recording and his playing and his songs and everything else, but the guy was the salt of the earth. It wasn’t just Hare Krishna, waterbeds and brown rice. That guy was a very, very accomplished musician. He needed magic to be able to get in and do ‘Lady’s Baby.’ It’s a nice song. It’s true. It’s got the warmth and everything of what he was living. ‘Lady’s Baby’ touches me, lets me know that I am free, whatever it is. I remember it so well. It’s a real tune, you know? I love it.” - Davy Jones, The Monkees: The Day-By-Day Story of the '60s TV Pop Sensation (2005) (x)

"[M]y darling Karen, with whom I am still very good friends all these years later.” - Peter Tork during his My Life In The Monkees & So Much More tour, 2013 (x)

"We’re still very, very good friends." - Karen Harvey, The News Journal, July 16, 1989 (x)

Q: “The Birds, The Bees & The Monkees sessions was a productive time in the studio for The Monkees. However, none of your stuff like ‘Lady’s Baby’ and ‘Tear The Top Right Off My Head’ made it to the album. How come?” Peter Tork: “To tell you truth… I… I never was able in those days particularly — I’m getting better at it these days — but in those days I was almost entirely unable to fight for what I saw as quality. If I didn’t get somebody fighting on my behalf then it didn’t, just didn’t come to pass. And none of the other guys was much interested in supporting my sense of quality, they had their own agendas and each one of them… I mean, not that I was left out in this regard, no one of us really supported any of the others except that, that I like to think that I tried to support Micky in a way which, for some reason, he never did pick up on. I mean, I think that Micky has a certain kind of genius that he was never able to acknowledge in himself. But be any of that as it may, I just basically think that I wasn’t feeling a part of it anymore already by that point, I’d already felt like I was odd man out, and of course I quit almost immediately thereafter. In fact, I think it’s The Birds, The Bees & The Monkees that has some tunes that were recorded after I quit.” - Headquarters radio, September 1989 (x)

[rookie-icarus]

Whoso List to Hunt

***

Whoso list to hunt, I know where is an hind,

But as for me, hélas, I may no more.

The vain travail hath wearied me so sore,

I am of them that farthest cometh behind.

Yet may I by no means my wearied mind

Draw from the deer, but as she fleeth afore

Fainting I follow. I leave off therefore,

Sithens in a net I seek to hold the wind.

Who list her hunt, I put him out of doubt,

As well as I may spend his time in vain.

And graven with diamonds in letters plain

There is written, her fair neck round about:

Noli me tangere, for Caesar's I am,

And wild for to hold, though I seem tame.

— Sir Thomas Wyatt

***

Before The Beginning, much work was put into each detail of the universe, each universe. But for now, we will focus on this one. In this quadrant. On our planet. Plans and plans and plans. (Though you know what they say about plans and God.)

Heaven is a vast, endless space of possibility and when one needs a door, it opens. Right now, an angel stands in front of a door. His door. The angel belongs to the choir of Virtues. He takes on the appearance of a pale youth with black hair like the sea at midnight, and blue eyes like the sea at noon. He is being given his first solo assignment. This will be his studio.

The Virtue is beautiful. He is as quiet as the breeze. He is as gentle as the moss.

Neither of these things exist yet, but he will invent them. Virtues have been assigned the elements. The environment of the new Earth.

Nature. Natura. Birth.

The angel steps through the door.

***

He begins. The angel sits down on the- what shall we call this? It is hard, solid, and foundational. The word feels like that. Guttural, stuck in the throat.

Grr. Grr.

Rest, the ability to let go of tension. A hum and breath.

Grr. Grou.

Ground.

The angel smiles, briefly. Ground. He is sitting on the ground.

Dirt follows. The smell is an itch. The taste is a resistance. He wants to stop the itch. He wants to feel it flow. What is the antithesis of below? 

Above.

Droplets hit his beautiful face. Cold. Invigorating. 

Rrr. Rraaa. 

Rain.

The rain and the dirt mix and make mud. He smiles and scoops up a small bit. Feet dirty, robes streaked, black soil in his hands, he rubs it on his cheek, down his neck and across his collarbone with an open palm. He is suddenly aware of his teeth, his skin, the swell of the- what is this feeling?

Wild.

***

There is now a forest. The angel has made the ground, the rain, the peat, the moss, the seedlings and the grubs. The mycelium, and the beetle, and the fern. The boulder and the stream. The great pine trees that block out the sky and sun. The rolling thunder clouds that house the rain. All fitting in and encouraging the journey of the other. The gentle rain falls and the trees grow. The sun moves and takes back the rain. The rain falls again.

Harmony.

His forest goes on for miles. Alone, unseen, he runs barefoot and naked through the trees as fast as he can. He composes the howl. He never wants to leave. He has all of eternity and he wants it to be here.

***

The Archangels applaud him. This is excellent work, this forest. He may move on to assist another team. The Virtue hesitates. Protests. He claims he is not done yet. It can be made better. Give him more time. They allow him back into his studio. His forest. His secret.

***

He looks up from his back at a sky settled with blue and gray clouds, the color borrowed from his eyes. The cool breeze sneaks through his dark hair, the wind borrowed from his breath. He wishes for a companion to bask in the green. Green. That was his too.

But not one of them, outside the door. No, he wants a companion who could understand what he has become.

The angel thinks of the softness in his chest. He thinks of the sounds of the forest. He thinks soft, soft, soft. Like him.

The brown hare bounds up next to him. It is soft, soft, soft.

He settles the hare on his chest, pets her long ears. Looks in her eyes. He loves her.

But it is not enough. He is not just soft, but now wild. He is more than he was made for. He is more than what God made him. It is a blasphemy, but also a truth. 

He stands and looks to the tree line and there, on the hill, is her.  He knows her name like he knows his own. Cervidae.

Her color is like the brown-red clay found at the shoreline he stands on now. Her hooves are made like the bark and stone. Spots down her back, white, like his wings.

She turns her head. His turns in the same direction.

They run.

***

On the moss of the forest floor they lay. 

She breathes hard, exhausted from the run. He has no need for it but he wants to know. He breathes too. In, out, stinging pain in the lungs he does not need but wants. A stitch in the side he does not need to feel but embraces. 

His left arm is curled under his head, on his side, his right reaches out to stroke her back, her shoulder. To feel each rib under skin that shapes in his hand and falls back into place when he lets go. The pelt is the softest thing he’s ever known.

Time has not been invented yet, so he stays there with her for a stretch of forever. Gazing. His Cervidae. His creation. The angel now knows what it’s like to be God. To be the creator and the creation at once.

I Am.

***

The Archangels grow impatient. They need him in another department and this is taking too long. But there is no sense in not using the brilliant ecosystem that he has prototyped. They let other Virtues go through the door. If he will not work with the team, they will bring the team to him.

***

The angel is contemplating a centipede. Watching closely as it curves and crawls up the trunk of the tree. He reaches a finger to touch. It strikes with its venomous forelegs. He draws his hand back.

Then he hears it.

Dozens of feet in pursuit. He hears his song of the howl, now a symphony placed in the throats of others.

A new feeling. A word he does not have to consider longer than a moment.

Danger.

He runs toward the howls. Time has just been invented because he must beat it to his destination. He falls, cuts his foot on a sharp stone. A river of red. A new sensation he has no name for nor wants to name. But he knows. Pain.

The red is in his vision now. It pumps through his veins. He screams and tears out the stone from the ground, clutching it he continues toward the sounds of barks, yipping, and baying. 

He arrives. The other Virtues stand in a circle around the fallen doe. Watching the wolves tear her flesh from bone without emotion. Observing as a medical student would observe a surgery in an operating theater. He sees the red.

They call it blood. They call it hunt. They call it hunger.

They look at the blood covering his foot. It is an obscene thing to take a corporeal form without need.

You have been here among the animals too long. You have done well. Come, let us bring you back.

As they lead him through the door he lets the black of his hair fade into the stone still clutched in his hand. Later, he will fashion it into a ring that he will call mourning.

***

There is a Great War.

All angels, regardless of side, have been given a body. This is to feel pain. This is to bleed. This is to give weight to the battle. It is not obscene.

His hair is silver now since the moment they took his door and rolled it up like a scroll, with everything he had created inside. It was placed on a shelf of blueprints somewhere in the infinite space of God’s kingdom. The Great Project, the Great Plan, put on hold for now.

He finds and steals it back, just for a moment. He enters his door and walks the path to find his hind. She is there. The ants have made good work of the meat left by the wolves. She is now gleaming white in the moonlight. He knows this word now, he did not invent it. Bone. 

He falls to his knees and takes the femur, the humerus, the tibia and fibula. He lays them down and begins to work at fashioning them together, sculpting a new form. He finally places them on his head.

The antlers are fierce and sharp, and violent in the next day’s battle. He is a loathsome thing to behold. He takes his rain and pelts it against the opposing regiment to blind them. He takes his breath and molds it into a gale. He takes his wild and packs the atoms together into lightning.

He calls it tempest.

***

He had forgotten his name long before the war. Now, in the pit, the demon sits and tries to name the final thing he will ever name. Tries to remember from before.

The soft.

The wild.

The spotted coat under his hand on the forest floor.

The word comes.

Fur.

Fur.

Find me on A03

—

On the origin of this idea:

I was incredibly curious about the deer detail in Furfur's costume and found while looking at demonology wiki that he takes on the form of a Peryton. Then I read "Furfur causes love between a man and a woman, creates storms, tempests, thunder, lightning, and teaches on secret and divine things."

I originally thought of a story of Furfur in the forest, but realized the Great War happened before The Begining. So I combined that with the canon that angels made the blueprints to carry out creation.

Finally, I saw this beautiful artwork from @Elizamaru and based Furfur's appearance on it.

It's a pebble to throw in the sea of Aziraphale and Crowley fics, but I am happy with the result and hope you enjoyed it too.

[pussinbootsandbountyhunter]

Once Upon a Studio (Series) Season Two; Episode Twelve: Tiana’s Cafe of Bayou

Info: Tiana decided to take care of the studio’s cafe for a day with the help of Judy, Nick and Pinocchio

Characters that would be part of the episode: Tiara, Louis, Naveen, Charlotte, Mama Odie, Big Daddy, Dr. Facilier, Judy Hopps, Nick Wilde, Bellwether, Benjamin, Chief Bogo, Judy’s parents, Mr Big, Fru Fru, Gideon, Flash, Pinocchio, Jiminy Cricket, Kuzco, Kronk, Pacha, Yzma, Maggie, Grace, Mrs Coleway, Buck, Lucky Jack, Slim, his three nephews, Audrey, Ollie, Jeb, Cinderella, Gus, Jaq, Bruno Madrigal, Antonio Madrigal, Mickey Mouse, Minnie Mouse, the Mad Doctor, Merlin, Cogsworth, Mrs Potts, Chip, March Hare, Mad Hatter, Max, PJ and Bobby

Hint: EVERYONE IS STARTED TO TALK ABOUT MICKEY IF HE IS CHEATING ON MINNIE OR NOT!!!

Note: I'm planning to do some once upon a studio series as everyone wants to see if they can lend a hand for me by likes, comments and reblogs their ideas and create arts if they want!

[joostjongepier]

Wat?   Brown Spot (Portrait of Andy Warhol as a banana) ((1984) door Jean-Michel Basquiat, Jean-Michel Basquiat (1984) door Andy Warhol, Los Cabazos 91984) door Jean-Michel Basquiat, China Paramount (1984), African Masks (ca. 1984) en Taxi, 45th/Broadway (1984-1985) door Jean-Michel Basquiat en Andy Warhol

Waar?   Fondation Louis Vuitton, Parijs

Wanneer?   31 juli 2023

Andy Warhol ken ik al een groot deel van mijn leven. Jean-Michel Basquiat ontdekte ik pas een paar jaar geleden. Sindsdien ben ik een groot fan van zijn werk. Van 1983 tot 1985 blijken beide kunstenaars nauw te hebben samengewerkt. Basquiat beweerde een miljoen schilderijen met Warhol samen te hebben gemaakt. Dat was lichtelijk overdreven. Het waren er in werkelijkheid zo’n honderdzestig. Beide kunstenaars werden in oktober 1982 aan elkaar voorgesteld door galeriehouder Bruno Bishofberger, die hen beiden representeerde. Ondanks het leeftijdsverschil klikte het meteen tussen de twee. Aanvankelijk werkten ze samen met Francesco Clemente, later zetten de twee hun samenwerking voort. De samenwerking tussen Warhol, Basquiat en Clemente leverde zo’n vijftien schilderijen op. De werken werden van studio naar studio vervoerd en elke kunstenaar voegde elementen toe, waarbij ieders eigen stijl zichtbaar bleef.

Warhol en Basquiat maakten verschillende portretten van elkaar, zoals Brown Spot (Portrait of Andy Warhol as a banana) en Jean-Michel Basquiat (in de pose van Michelangelo’s David). Toen Bishofberger de twee kunstenaars aan elkaar had voorgesteld, vroeg Basquiat hem om een foto van hem en Warhol te maken. Basquiat vertrok en twee uur later bracht zijn assistent het schilderij Dos Cabezas naar Warhol’s Factory. Hierop riep Warhol uit: “Oh, I’m so jealous! He’s faster than me.””

Een fraai voorbeeld van de samenwerking tussen Warhol en Basquiat is China Paramount.  Het door Warhol toegevoegde logo van Paramount Pictures staat voor de Amerikaanse filmindustrie, maar is ook een eerbetoon aan zijn toenmalige levenspartner Jon Gold, die bij het bedrijf werkte. Ronald Reagan, de acteur die president werd, propageerde in de jaren tachtig van de vorige eeuw goede handelsrelaties met China. Hieraan ontleent het werk zijn naam. Basquiats zwarte figuren geven aan dat de Afro-Amerikaanse bevolking niet meedeelt in de groeiende welvaart van de jaren tachtig.

Basquiats aandacht voor zijn Afrikaanse roots komt ook tot uiting in het meterslange werk Afrikan Masks. Warhol schreef hierover in zijn dagboek: “We painted an African masterpiece together. One hundred feet long. He’s better than I am, though” (29 mei 1984).

Taxi, 45th/Broadway geeft een autobiografische scène uit Basquiats leven weer. Toen hij een taxi wilde aanhouden, kreeg hij alleen maar beledigingen toegeschreeuwd. Kunstenaar Keith Haring, een vriend van Basquiat, zei hierover: “”Being black and a kid and having dreadlocks, he couldn’t even get a taxi. But he could spend $ 10,000 in his pocket.”

De tentoonstelling Jean-Michel Basquiat x Andy Warhol, Painting Four Hands is een grote tentoonstelling. Wat de vele werken vooral laten zien is het enthousiasme waarmee ze zijn gemaakt, de wederzijdse onderlinge inspiratie. De kunstscène in New York in de jaren tachtig was een bruisende creatieve smeltkroes.

[historyhermann]

An Alternative to the Studio System?: Indie Animation Forges Ahead [Part 2]

continued from part 1. Split because Tumblr claimed there was an error in the post.

Otherwise, Shannon Mowatt's 16-minute animatic of Revamped, has been released in advance of the full animated pilot. It is an upcoming short queer film about four high school sophomores who deal with school life, vampires, and the supernatural world.

Reprinted from Pop Culture Maniacs, my History Hermann blog, and Wayback Machine. This was the eleventh article I wrote for Pop Culture Maniacs. This post was originally published on July 15, 2022.

There's the Lackadaisy film about 1920s gangster cats, based on Tracy J. Butler's webcomic. Another series, Outcasts, has cats as characters. Shou Tuzi's Tallyho! series continues to develop. It is inspired by steampunk, fantastique, and other media. Tuzi's studio, Skull Hare Studio, is also working on Arthur: The Timeless Knight.

Daniel is continuing to pursue his action adventure series, Lumeon Lands, which has begin production. These series are important to highlight when Hollywood continues to end projects and sack animators. Some have put hope in indie animation, noting it has the promise to allow creators to have "creative control" unlike working under major studios.

While there are many indie animations I could mention. [6] However, I'd like to focus on a few series in development. One of those is Sam Sawyer's SALEM, also known as Salem or S.A.L.E.M.: The Secret Archive of Legends, Enchantments, and Monsters. In May, SpectroliteAAA, the lead storyboard artist said that she could talk about it soon, but not yet. In January, Sawyer, when asked by a fan, said the same thing.

The series has been fully funded. The now-fulfilled Kickstarter defines the series as an animated story about "a cryptid with a big heart and even bigger questions, on a quest to discover their true origins".

Apart from having high-profile voice actors like Laura Bailey, Rob Paulsen, and Adam McAarthur, a tweet from the show's account confirmed Petra as asexual, Salem (who is also non-binary) as pansexual, and Oliver as gay. The series has Randy Abrams as executive producer. It is being animated with help from Surfer Jack Productions, a company said to specialize in "ingenious storytelling". The company was founded by animation industry veterans Jeff “Swampy” Marsh, Lance LeCompte, and Bernie Petterson.

There are other series in development. This includes Georden Whitman's pilot named Port by the Sea on two kids who are "sailing the seas to fix a now broken moon", Matt Acuña's fantastical adventure The Garden Age, and the Far-Fetched Show, an animated series "about a rock band of misfits" by Ashley Nichols and Dave Capdevielle.

In addition, there's a demon/vampire themed series in the process entitled Bloodgore, the psychological horror dramedy named Please Stay Tuned, the ghost-themed Ghost Hunt, a sci-fi themed SpaceAges, and many more. These are a small sampling of the indie animated series out there. [7] These persist despite the problem of distribution and funding to "make original stuff", and possible iffiness of crowdsourcing, as writer Chris Hill pointed out.

Port by the Sea's pilot will likely come out sometime later this year. The Far-Fetched Show is also moving ahead, with comics to go with the series like Wild Card. The Nichols' Patreon notes that a lyrics video for the series band, Sesemoid, is coming out later this year. This also noted they are still working on the pilot. Currently, there is wonderful fan art of the show's characters, including putting them in a Steven Universe setting, and much more.

The fact that Port by the Sea has over 1400 followers and Far-Fetched Show has over 67,600 followers, along with 406 Patreons of Nichols, proves what animator LanceArts pointed out: that the indie animation scene is "exploding with greater popularity now more than ever."

More episodes of Alpha Betas are currently in production, with recording for new episodes. Four episodes are set to be released in Fall/Winter 2022. Additionally, Lucha Vandross is fundraising for various indie animated series. This includes those inspired by 1980s Hong Kong films (Project Icarus and Project Icarus X) and a modern take on Robin Hood. The latter is about friends "robbing the rich and giving it to the poor" (Samson). [8] Animator 9Hammer is actively releasing series in Newgrounds, of all places. This includes series such as Chaotic Heart and Solace, with new episodes in production.

Others, like Warlord-of-Noodles, have ongoing series as well, which is also posted on YouTube and has a Patreon. Series like Deep States, by Molly, are on YouTube. There is the exciting 2d indie anime in development entitled Broken Beat, made by animators of prominent anime series, like Creative Theory. The series is about a protagonist, Sin, tasked with stopping the reign of the creator god, and challenged by an "endless conflict between humans and manifestors". Sin masters his form along the way.

Newgrounds is a weird place. There's a lot of terrible (and amateurish content) there, mixed with sexual content. It is more than what would YouTube would permit, and includes pornographic material. Apart from the series on hiatus by 9Hammer, Beyond the Fog, there's The Looter, and Zack and Alex. The latter, by Jayevin Abad, had its pilot posted on YouTube as well. Otherwise, there are various other series, films, and more, which have aired on the site. [9] Some shows I've noted before in this post, and elsewhere, like Ollie and Scoops, Eddsworld, Tales of Alethrion, and Satina all have pages on the site.

Apart from Newgrounds, are further series in development. This includes The Art Of Murder, produced by an Australian indie 2D animation studio named Choc Chip. It is produced by Anokhi Somaia and directed by Nirali Somaia. Sonya Belousova and Giona Ostinelli are the series composers.

The Art of Murder is a murder mystery, musical, and pop culture parody where "sketchbook characters come to life" when the clock strikes midnight. It features voice actors like Lizzie Freeman, who also voices a character in Gods' School, Lauren Lopez, who founded a popular online musical theatre company named Team Starkid. There's also Joey Richter (part of the same theatre company), Joey Bizinger, a well-known Japanese-Australian voice actor, YouTuber, and more, and Megan Lee, a Korean-American singer-songwriter. 

There's further projects of note. This includes various series by LGBTQ creators. [10] For instance, there's an animated series such as Scrappers, Swift Spark and the Defense Five, Birdboys, and Novas. Scrappers and Birdboys are by trans women, Charlie Gultiano-Wyton and Danielle Maxine specifically. Swift Spark and the Defense Five is by a trans man, Pan. Novas is by a queer and trans artist, Jesse. Scrappers is being produced by Gultiano-Wyton's animation studio, Variation Media.

Swift Spark and the Defense Five is by artist and animator, Pan, who loves Phineas & Ferb, and is based on a comic of the same name. Birdboys is by artist and animator, Danielle, with some teasers posted on her YouTube channel. Novas is the personal project of Jesse, a SCAD student, who posted a casting call for the animation on Tik Tok. What Avara, mentioned earlier in this article, stated is relevant here: support for indie creators is necessary if you "want to see diversity in animation". Part of that is LGBTQ representation.

© 2022-2023 Burkely Hermann. All rights reserved.

[nerdychaoscherryblossom]

Once Upon a Studio: Extended Edition

Hey there. It's Sam Whitacre, and I made the extended edition of Once Upon a Studio. I could imagine if the characters from Pixar Animation Studios might show up and interact with the characters from Walt Disney Animation Studios before the group photo. Enjoy.

(The scene opens to the Roy E. Disney Animation Building as the animators and workers go home for the night and then the intern and Burny Mattinson leave.)

Disney Intern: It's so incredible to think that Walt started Disney Animation 100 years ago today. To think of all those talented artists and wonderful characters who have been a part of the studio over the years.

Burny Mattinson: Yep. If these walls could talk.

(The door closes as the camera moves to the production cell of Mickey and Minnie from Mickey's Birthday Party and then Mickey calls out for Tinker Bell.)

Mickey Mouse: Psst! Tink! Tinker Bell! You there?

(Tinker Bell flies to Mickey.)

Mickey Mouse: Is that it? They all gone? (Tinker Bell nods) Oh, boy! (he and Minnie jump out of their production cell) Come on, Minnie, this is it.

Minnie Mouse: Let's get the gang! Yoo-hoo!

Tiana: (gasps) There's the signal! (jumps out of her production cell) All right, y'all! (claps her hands) It's picture time!

Pinocchio: (pokes his head out of his production cell) That's tonight?

Tiana: That's now.

Judy Hopps: The 100-year group photo. And the sun's going down. (she and Nick Wilde jump out of their production cell) Come on. Let's hop to it!

Nick Wilde: Ooh, a bunny pun. (chuckles) Got to like that.

Eema: Wouldn't be lyin', honey. It's always to have a good time here in the building.

(Louis the Alligator pops out of his production cell blowing a horn as Nick Wilde gasps and evades him and then Louis shrugs as Eema chuckles. Soon afterwards, Chicken Little, Abby, Runt, and Fish Out of Water come out of their picture frames.)

Chicken Little: Well, today is a new day.

(Mickey runs down the hall from left to right as he calls out to Bambi, Flower, and Thumper.)

Mickey Mouse: Picture time, guys!

Thumper: (chuckles) Okay, here we come!

(The trio jump out of their picture frames as they laugh and run to the production cell of Bernard, Bianca and Orville.)

Thumper: Wake up! Wake up! (thumps his left foot)

(Orville flies out of the production cell as he screams and crash lands to the floor as he slides across the screen from right to left. Minnie, Bolt, Mittens and Rhino watch him.)

Rhino: Awesome!

(Peter Pan crows while he flies.)

Minnie Mouse: Oh, Peter! (as Peter flies up to her) Get the folks upstairs!

Peter Pan: Aye, aye, Captain! Come on, everybody! Here we go!

(The camera follows Peter, Wendy, John, and Michael flying down the hallway and up to the ceiling. They all plunge down one by one as Peter crows again as the camera flies up to Sisu who runs happily down the hall while she gasps and laughs in delight. Jim Hawkins flies down the hallway while he rides his Solar Cruiser.)

Maui: (emerges from his production cell) It's Maui time! (morphs into a hawk) We're meeting in the lobby!

Aladdin: (as he slides down on the railing) Okay! See you there!

(Aladdin lands on one of the rolling boulders and slips left out of the shot. Vanellope drives down the hall with Dodger on her candy kart. Dodger howls behind Vanellope as they drive right out of the shot. Elliot the Dragon gives a joy ride to Cody.)

Cody: Higher! (laughs)

(Elliot the Dragon mutters as he flies up. Moana comes down from the water as she sighs with relief and then she catches Flounder who loses his oxygen.)

Flounder: Water.

(Moana groans and rushes up to the coffee station where Merlin, Cogsworth, March Hare, The Mad Hatter and Lucille Krunklehorn have tea.)

Cogsworth: No, no, no! There's no time for tea!

Moana: (rushes up to Merlin) Uh, Merlin! A little help?

Merlin: Oh! Uh, oh, ah. (raises his wand and casts a spell) Chapeauious Bowlious!

(Magic dust hits the Mad Hatter's hat off and fills it up with water. Moana puts Flounder in the hat as a penguin butler walks by them.)

Mad Hatter: (chuckles) Oh, waiter, there's a carp in my cap. (laughs)

(The camera flies to Stromboli who tries to get candy from the vending machine while he grumbles as Anna and Elsa walk by.)

Anna: Yikes! Do you think all the villains will show up?

Elsa: Hmm. (freezes Prince Hans in his frame) Not all.

Prince Hans: (strains)

(The scene cuts to the Clade family, Diazo, Kardez, Azimuth and Legend who walk down the hallway to the lobby as they meet Izzy Hawthorne, Mo Morrison, Darby Steel, DERIC, Sox, Avery Hawthorne, Mrs. Hawthorne, Alisha Hawthorne and Kiko Hawthorne.)

Ethan Clade: Uh, hello?

Izzy Hawthorne: Oh. Hello. So, who might you be?

Ethan Clade: Ethan Clade, son of Searcher Clade and Meridian Clade, and grandson of Jaeger Clade and Penelope Clade. And those are my friends, Diazo, Kardez, and Azimuth.

Diazo, Kardez, and Azimuth: Hey there.

Izzy Hawthorne: Wow. Hello there. I'm Izzy Hawthorne. Oh, these are my grandmothers, Alisha and Kiko, and my father Avery and his wife, Mrs. Hawthorne.

Ethan Clade: Izzy? Wow, that's a pretty cool name. So, um, do you think your grandmothers will join me and Diazo for the LGBTQ anonymous after the group photo?

Izzy Hawthorne: Maybe.

Ethan Clade: Wow. (to Alisha) And look at you, you must be the grandmothers of Izzy Hawthorne.

Alisha Hawthorne: Uh, yeah, we sure are. Did you know that I recently used a sperm from the sperm bank to impregnate me?

Diazo: Uh, no, I never knew that, but wow, that's actually... logical. Where are you all from?

Alisha Hawthorne: The Steve Jobs Building at Pixar from Emeryville.

Ethan Clade: Emeryville? Wow. That's far away from here.

Mickey Mouse: I'm sorry. Did somebody say "Emeryville"?

Izzy Hawthorne: Yep, I sure did.

Mickey Mouse: Really? Wow. That studio's 350 miles away from here, and talk about a rivalry.

(The scene cuts to Donald Duck as the elevator door opens and Donald Duck goes in there with Carl, Humphrey the Bear, Ranger Woodlore, Mother Gothel, Terk and Evelyn Deavor.)

Carl: Going down? (pushes the lobby button)

Flash: (offscreen) Hold the...

(The camera flies to Flash who walks slowly to the elevator.)

Flash: elevator.

Donald Duck: Huh? (mumbles)

(The scene cuts to Pumbaa who walks down the hallway with Snow White as Timon rides on him.)

Pumbaa: So, if the Disney Animation is 100 years old, how old does that make you, Mrs. White?

Timon: Pumbaa!

Snow White: (giggles) No, it's all right. (while she takes her poster off from the wall) I'm 86.

Timon and Pumbaa: 86?

Timon: Talk about your suspended animation.

(The scene cuts to Olaf who draws with a pencil as a Lost Boy flies by and Timon, Pumbaa, P.T. Flea and his Circus Bugs walk by.)

Olaf: ♪ I'm in the mood to help you, dude ♪ (vocalizing)

P.T. Flea: Hey, Frosty, shake a leg, will ya?

Olaf: The leg won't make a difference. It's all in the wrist.

(The Genie emerges from the paper as Olaf screams and falls apart after he hits the floor.)

The Genie: Oi! I haven't seen a fall like that since Rome. (puts Olaf back together)

Olaf: (chuckles)

The Genie: Oh! Much better!

(The scene goes to the men's restroom as Milo Thatch, Gaston, Prince John, Happy, Chicken Little, Headless Horseman, Sid Phillips and Tyler Nguyen Baker freshen up.)

Gaston: ♪ Every guy here would love to be you, Gaston ♪

(Gaston kisses his muscle and chuckles. Suddenly, the Cheshire Cat's eyes and teeth emerge as his teeth play a harmonica sound.)

Gaston: Huh?

(The Cheshire Cat appears visible and laughs as Minnie Mouse opens the door while she has her eyes covered.)

Minnie Mouse: Let's move it, gentlemen!

(The scene cuts to Christopher Robin, Kanga, and Eeyore who help Winnie the Pooh pull out of his production cell.)

Winnie the Pooh: Ooh! Ooh, help, and bother.

(Antonio Madrigal skips down the hall with Cinderella's two blue birds, Cri-Kee, Pascal, Buster, Dante, Meeko and Pua. Pua snorts and Meeko chitters while they walk.)

Antonio Madrigal: Uh-huh. Meeting in the lobby. (stops moving) Don't eat those.

(The camera quickly rotates to Joanna the Goanna about to eat Jaq and Gus. Pluto pops up and scares Joanna by barking at her. Joanna scurries out of the shot as Gus chuckles and Jaq gives a thumb up to Pluto.)

Jaq: Zuk, zuk!

(The scene cuts to the Dalmatian puppies watching the "Night on Bald Mountain" segment from "Fantasia" on TV as Meilin Lee, Jin Lee, Ming Lee, Miriam Mendelsohn, Priya Mangle, Abby Park, 4*Town, Water Rat, Angus MacBadger, Mole, Ryder Nattura, Honeymaren, Sven and Kristoff walk pass them.)

Kristoff: Come on, puppies. You're gonna have nightmares.

(Chernabog pops out of the TV and scares the puppies. They run away and run over Scrooge McDuck who has come out of his picture frame as he drops his money bags and then Robin Hood and Little John appear and take the money bags.)

Robin Hood and Little John: Oo-De-Lally!

(The scene cuts to Flash who makes it to the elevator while Donald Duck feels upset while Carl, Humphrey the Bear, Ranger Woodlore, Terk, Mother Gothel, and Evelyn Deavor feel tired.)

Flash: Thank you... for holding... the... elevator.

Donald Duck: (groans)

Baymax: (goes inside the elevator) I am also going to the lobby.

Donald Duck: Huh? Oh, come on! (quacking angrily)

(The elevator door closes as the scene cuts to Miguel Rivera, Mirabel Madrigal, Dolores Madrigal, Camilo Madrigal, Hector Rivera, Bruno Madrigal, Imelda Rivera, Alma Madrigal, Elena Rivera, Enrique Rivera, Luisa Rivera, Rosa Rivera, and Socorro Rivera who walk down the hallway.)

Miguel Rivera: So, uh, do you play an accordion while I play a guitar?

Mirabel Madrigal: Well, yes. Do you think we should be a connected family?

Miguel Rivera: I hope so.

Mirabel Madrigal: Oh, okay.

Isabela Madrigal: Hey, uh, Miguel, do you think where my sister Luisa might be up to?

Miguel Rivera: Oh, I believe she's just having an arm wrestling contest with Hercules.

(The scene cuts to Luisa Madrigal who has an arm wrestling contest with Hercules.)

Luisa Madrigal: Say, Hercules, were you possibly ever like, "Yo, I don't wanna fight no Cerberus"?

Hercules: Oh, I'll tell you the honest-to-Zeus truth.

(Callisto Mal and Kronk walk by.)

Callisto Mal: So, uh, do you think you might have a chance to be my true love?

Kronk: Well, maybe someday.

(The scene changes to the women's restroom where Isabela Madrigal, Madame Medusa, Gazelle, Georgette and Daisy Duck freshen up as Ariel combs her hair with a fork while she hums her siren song. Suddenly, a fork turns into Morph who laughs until Sgt. Calhoun opens the door.)

Sgt. Calhoun: We're losing daylight, ladies!

(The scene changes to Sisu, Arlo and Aladar who walk down the hallway as Mulan, Li Shang and Mushu ride on Aladar's back while Raya and Namaari on Sisu.)

Sisu: Can you believe it, Iguanodon? Our studio turned a century old.

Aladar: Actually, I'm just Aladar.

Sisu: Oh, right, Aladar, of course.

Arlo: So, if my movie's eight years old, how old does that make you feel?

Aladar: Well, actually, I'm 23.

Sisu: 23? Wow, that sounds way older than I expected.

Mushu: Yep, I'll leave it at that, Sisu.

Sisu: Oh, yeah, that's actually a good point, Mushu.

(The scene cuts to Ursula who's being followed and annoyed by lovestruck Splat.)

Ursula: (groans) Oh, no, no, no, no, no, no.

[ptbf2002]

My Top 10 Adult Swim Shows

Attention Swimmers, Hm, Swimmers, Got Some Announcement To Tell You, Every Night On Cartoon Network, It's All Kids, Out of the pool, for Adult Swim, So, Here's My List Of Top 10 Shows On Adult Swim

#10 The Brak Show

#9 Robot Chicken

#8 King Of The Hill

#7 The Boondocks

#6 Samurai Jack

#5 Rick And Morty

#4 Genndy Tartakovsky's Primal

#3 Harvey Birdman: Attorney At Law

#2 Futurama

And #1 American Dad

Honorable Mentions: Aqua Teen Hunger Force, Family Guy, My Adventures with Superman, Metalocalypse, Unicorn: Warriors Eternal, Bob's Burgers, And Squidbillies

original template: https://www.deviantart.com/edogg8181804/art/Top-10-Adult-Swim-Shows-Meme-852140153

The Brak Show Belongs To Jim Fortier, Andy Merrill, Pete Smith, Hanna-Barbera Cartoons, Inc. Wild Hare Studios, Turner Entertainment Company, Williams Street Productions, LLC, Cartoon Network, Adult Swim, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Robot Chicken Belongs To Seth Green, Matthew Senreich, Mike Fasolo, ShadowMachine, Stoop!d Monkey, Stoopid Buddy Stoodios, LLC. Sony Pictures Digital Productions Inc. Sony Pictures Television Studios, Sony Pictures Television Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, Williams Street Productions, LLC, Cartoon Network, Adult Swim, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

King of the Hill Belongs To Mike Judge, Greg Daniels, Plus One Entertainment Co., Ltd. Toon Boom Animation Inc. Rough Draft Korea Co, Ltd. Toonzone Entertainment, Wild Horse Animation Group, Y.R. Studio, Yeson Entertainment, Bandera Entertainment, Deedle-Dee Productions Judgemental Films, 3 Arts Entertainment, 20th Television Animation, 20th Television, Hulu, Disney Streaming, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

The Boondocks (2005 TV series) Belongs To Aaron McGruder, Madhouse, Inc. Lotto Animation, Inc. DongWoo Animation Co. Ltd. MOI Animation Co., Ltd. JM Animation Co., Ltd. Studio Mir Co., Ltd. Adelaide Productions, Rebel Base Productions, Sony Pictures Television Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, Cartoon Network, Adult Swim, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Samurai Jack Belongs To Genndy Tartakovsky, Digital eMation, Inc. Rough Draft Korea Co, Ltd. Cartoon Network Studios, Williams Street Productions, LLC, Cartoon Network, Adult Swim, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Rick And Morty Belongs To Justin Roiland, Dan Harmon, Justin Roiland's Solo Vanity Card Productions Harmonious Claptrap, Starburns Industries, Bardel Entertainment, Inc. Rick and Morty, LLC, Green Portal Productions, Williams Street Productions, LLC, Cartoon Network, Adult Swim, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Primal (TV series) Belongs To Genndy Tartakovsky, Studio La Cachette, Cartoon Network Studios, Williams Street Productions, LLC, Cartoon Network, Adult Swim, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harvey Birdman: Attorney At Law Belongs To Michael Ouweleen, Erik Richter, Bardel Entertainment, Inc. Rough Draft Korea Co, Ltd. Hanna-Barbera Cartoons, Inc. J. J. Sedelmaier Productions, Inc. Turner Broadcasting System, Inc. Cartoon Network Studios, Williams Street Productions, LLC, Cartoon Network, Adult Swim, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Futurama Belongs To Matt Groening, David X. Cohen, Digital eMation, Inc. K Production Sdn. Bhd. Rough Draft Studios, Inc. Rough Draft Korea Co, Ltd. The Curiosity Company, The ULULU Company, 20th Television Animation, 20th Television, Hulu, Disney Streaming, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, The Walt Disney Company, Comedy Central, Comedy Partners, MTV Entertainment Group, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

American Dad! Belongs To Seth MacFarlane, Mike Barker, Matt Weitzman, Yearim Productions Co., Ltd. Underdog Productions, Fuzzy Door Productions, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, The Walt Disney Company, TBS, Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

[mapsofthelost]

Wanderer Fen

Anthony Ellinson was a record producer who went from being studio tea boy at Olympic, to an engineer at Trident, to his first steps in production in the early 1970s. He quickly became the go-to producer for a growing list of psychedelic folk bands like Taking Back Autumn, and The Wild Hares and then for a band that came out of nowhere, never gave an interview or spoke about themselves, but built a cult live reputation in just a few short months: Wanderer Fen.

Record companies were falling over themselves to sign the Fen, and the band could have had their choice of producers, but they chose Anthony, took a small advance but much more control in a deal with Archipelago Records, and began to record the tracks intended for an album the band announced was to be called Open The Door.

Recording was problematic from the beginning. Studio gear broke down, the electricity supply to the building suffered random outages, and the band would disappear for two weeks and then come back and record for forty-eight hours straight, allowing no one in the studio other than themselves and Ellinson.

His friends became increasingly concerned as he lost weight, and looked as if he hadn’t slept in a week. His hands shook slightly, and his eyes were always moving, looking over people’s shoulders and around the room as if he expected to see someone or something there.

His friends saw him less and less though, as he spent all of his time in the studio when the band weren’t recording, playing the tapes over and over, headphones on, hands moving on the deck as if in search of something only he could hear. When an old friend from Trident delivered a tape delay unit he was lending Ellinson to replace one that had broken in the studio he asked how recording was going, and the producer replied that he could hear something in the music, and he had to find it. His friend assumed he meant some interference, an annoying hum, and thought nothing else of it.

But three days later Anthony Ellinson went to the studio at two in the morning, poured petrol from a can over all of the tapes, the desk, and himself, then sat at the recording desk and lit a match.


Several of the people who lived near the studio watched the building burn and the sparks leap up into the sky, and said afterwards that they could have sworn that they heard singing. It sounded as if it came from right in front of them but also a long way away, and it made them feel sick and disorientated, as if they were standing on the deck of a boat in a storm.



No one knows what Wanderer Fen made of all of this, because after that night no one saw or heard from them again, and the one phone number that Archipelago had for them would just ring three times and then answer to what sounded like the crackle of flames.

[creativinn]

In Pictures: See Inside a Gargantuan Graffiti and Street Art Exhibition in Hong Kong, Stacked With Works by Basquiat, Kaws, Futura, Lady Pink, and More

When “City as Studio” opens today in Hong Kong, it will mark the arrival of the biggest exhibition of graffiti art the city has ever seen. Arrayed across the shopping complex of K11 Musea are more than 100 works that track graffiti’s stunning trajectory, springing off the subways cars of New York and highways of Los Angeles to emerge as a global art and market force. 

The show has as its curator Jeffrey Deitch, the artist, writer, and gallerist who isn’t just the latest guy to bring graffiti art to Hong Kong, but is quite likely the first.

Deitch, who grew tight with the genre’s leading artists in the mid 1970s when he moved to New York, had accompanied Dondi, Futura, and Zephyr to Hong Kong in 1982. The artists painted a parking garage, which eventually became the I Club, marking the Wild Style pioneers’s first-ever visit to Asia.

Fab 5 Freddy, Return Of God To Africa (1984). Photo courtesy of the artist.

In curating “City as Studio,” Deitch told Artnet News, “I wanted to focus on artistic innovators and include artists whose influence continues to be felt.”

Hence the inclusion of downtown New York practitioners such as Jean-Michel Basquiat, Rammellzee, and Kenny Scharf, Wild Style innovators including Futura and Lady Pink, and Los Angeles leading lights such as Chaz Bojórquez and Mister Cartoon. Today’s street art scene is also represented by works from Kaws, Aiko, JR, and Osgemeos. 

Deitch himself is excited to present a number of paintings by Martin Wong, the Chinese-American artist who documented New York street life with poetic realism, and an avid collector of graffiti sketchbooks.

Martin Wong, Untitled (Bicycle Boy) (1997-98). Photo: © Estate of Martin Wong, courtesy of William Lim c/o Living Limited, the Estate of Martin Wong and P•P•O•W, New York.

While the exhibition launches in time to coincide with Art Basel Hong Kong, it also marks the 50th anniversary of hip hop, of which graffiti forms a key element. Alongside the artworks, “City as Studio” has gathered historic photographs by the likes of Henry Chalfant and Martha Cooper to situate the art form within the then-burgeoning movement. Its curator, too, has had the opportunity to reflect on graffiti’s, and in turn hip hop’s, continued influence.

“I start my catalog essay with the observation that the Wild Style graffiti that was invented by teenagers in the Bronx, Brooklyn, and Lower Manhattan might be the most influential art movement since Pop art,” Deitch said. “You see street art around the world influenced by these innovations. The three linked creative forms: hip hop, Wild Style graffiti, and breakdancing defined a remarkable cultural moment and they continue to resonate.”

See more artworks from the exhibition below.

“” is on view at K11 Musea, 18 Salisbury Road, Tsim Sha Tsui, Hong Kong, through May 14, 2023.

Jean-Michel Basquiat, Valentine (1984). Photo: © Lisa Kato, courtesy of Paige Powell.

Kenny Scharf, BLOBZIC (2018). Photo courtesy of the artist.

Chaz Bojórquez, Mr. Lucky (2019). Photo courtesy of the artist.

Haroshi, Mosh Pit (2019). Photo: © Genevieve Hanson, courtesy of the artist, Jeffrey Deitch, and NANZUKA.

Lady Pink, TC5 in the Ghost Yard (2020). Photo courtesy of the artist.

KAWS, UNTITLED (NICOLE MILLER) (1996). Photo: Farzad Owrang, © KAWS, courtesy of the artist.

Rammellzee, SIGMA-BATTL’S A GO (ca. 1985). Photo courtesy of the Estate of Rammellzee.

Gusmano Cesaretti, Chaz Running (1973). Photo: © Gusmano Cesaretti, courtesy of Gusmano Cesaretti.

Henry Chalfant, Mad PJ (1980). Photo courtesy of the artist and Eric Firestone Gallery.

Keith Haring / LA II, Untitled (1983). Photo: © Adam Reich. LA II Artwork © LA II / Keith Haring Artwork © Keith Haring Foundation, courtesy of K11 Collection.

This content was originally published here.

[lysgaardstallings33]

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Elena is an avid blogger who enjoys writing articles on fashion, beauty, lifestyle, fitness and recently, CBD niches. Elena has been described as a "delightfully eccentric with a creative take on things" (New York Times) with an ability to "bring you new facts that will make you go WOW!" (Vanity Fair). Elena has been writing since her uni days where she was a regular contributor to the student magazine. After pursuing a career in finance in the heart of London's financial hub, Elena has decided to start blogging in her spare time as an outlet for her creativity and ideas. During her spare time, Elena enjoy horse riding, camping and hiking, interior design and keeping abreast with the latest trends. Elena is in the process of starting up her own beauty cosmetics line in the near future. Elena is also a contributing author to fashion and lifestyle magazines and has been featured in Vice, Country Living, Harrods magazine, Daily Telegraph, Grazia and Women's Health.

[ducktracy]

Honestly, would Looney Tunes be anywhere near the icon it is now without Tex Avery? Even some of their most iconic creations, Daffy and Bugs, came from him (yes I know Bugs was technically created by Ben “Bugs” Hardaway, but he was previously more of a Daffy 2)

oh, it's a fact that it wouldn't! the success of LT relies on many, many factors, one of the most important factors being that it was a very collaborative effort (because animation is a very collaborative medium) and everyone learned from each other. borrowing characters, studying what made each other's films so good, etc

but yeah, the difference of pre and post Tex LT is night and day. rather than imitating Disney, he challenged them, and his impeccable sense of speed and timing, as well as total transformations of a single scene (such as this great scene from Porky the Wrestler) really helped to put LT on the map. the birth of Daffy i think is the most important of the 3 main star "origin" films (I Haven't Got a Hat, Porky's Duck Hunt, A Wild Hare)

as you said, Bugs was technically Ben Hardaway's creation, who admitted to just putting a "rabbit suit" on Daffy and repeating the entire shtick of Porky's Duck Hunt. it was Tex who reclaimed the rabbit and ironed him out to the wabbit we all know and love today, but without Porky's Duck Hunt, there would be no A Wild Hare period. Porky's Duck Hunt also bringing in Mel as Porky for the first time is another reason for its importance

at the same time, without I Haven't Got a Hat, there would be no Porky's Duck Hunt because there would be no Porky. Tex's first film, Gold Diggers of '49, reused the gang from Hat, and had he not reused them or not arrived at the studio period, i doubt Warner's would have a quarter of the legacy they do now

Tex inspired directors like Friz Freleng and Frank Tashlin to be faster and funnier and out compete each other, and there's a very bright period at the end of 1936 that stretches throughout 1937 and into early 1938 where everyone is trying to be funnier, faster, and bitier. Frank Tashlin often rivaled (and even surpassed) Tex in snappiness and timing which is another thing! but yeah, Tex was a MAAAAAJOR player in the legacy of Warner Bros

...which is incredibly ironic considering all of his best work was at MGM! i also think the LT shorts got better after he left in 1941; Bob Clampett inheriting his unit really did wonders, and acquiring Rod Scribner and Bob McKimson both is probably the best thing that could have happened to him. Tex, meanwhile, was running out of steam, and after a few years of travelogues and spot gag cartoons, i'm sure his departure was a breath of fresh air for him and the rest of the Warner crew. you could definitely sense the fatigue

REGARDLESS, overly complicated way of saying YES!!! the legacy of WB cartoons rests on many, many factors, but Tex is a major part in keeping that history alive

[tcm]

Something New Has Been Added: Inside Tex Avery’s Madcap Animated Universe By  Donald Liebenson

“The secret in animating is first to have an everlasting sense of humor, next to be able to see the commonplace in a funny way and most important of all, to be able to sketch your idea so that the other person will think it's funny."—Tex Avery, The Dallas Morning News, 1933

At the start of Fred “Tex” Avery’s RED HOT RIDING HOOD (‘43), the Wolf, Red Riding Hood and even Grandma rebel against a traditional rendering of the classic fairy tale and threaten to quit the cartoon right then and there. “Every cartoon studio in Hollywood has done it this way,” Red complains. “I’m pretty sick of it myself,” Grandma chimes in. And just like that, something new had been added, with a cat-calling, zoot-suit-bedecked Wolf cruising Hollywood Blvd.; Red Hot Riding Hood (aka that Sweetheart of Swing) knockin’ ‘em dead at a Hollywood night club; and a slang-slinging Grandma (“Hiya cousin, what’s buzzin?’”) waiting for a wolf of her own in her penthouse digs.

RED HOT RIDING HOOD kicks off TCM’s early morning tribute to Tex Avery, which will easily be the funniest thing you see all day. The cartoons will be preceded by John Needham’s British documentary TEX AVERY: KING OF CARTOONS (‘88). It is an ideal primer into the Avery-verse that charts his legendary career from high school cartoonist through his tenures with Walter Lantz Productions, Warner Bros. and MGM. Along with a generous sampling of clips from his Warner Bros. and MGM cartoons, there are priceless interviews with equally legendary colleagues such as Chuck Jones, Heck Allen and Mike Lah, along with June Foray, the Queen of Cartoons and Joe Adamson, who wrote the essential book, also titled Tex Avery: King of Cartoons. (Coincidence, isn’t it?)

Needham told TCM he was encouraged to make the documentary by Chuck Jones, whom Needham had profiled for the BBC arts series, Omnibus. “He simply said, ‘We should make a film about Tex,” he said. As an Avery fan himself, Needham was all in. “I think it’s his ability to take a gag to the extremes and then take it further and then take it even further,” he said. “Chuck said that he could never copy Tex because he didn’t have a clue what Tex was doing, he just knew that he was a genius. I’m sure I don’t know either, but what he did was incredibly funny.”

The seven cartoons included in the TCM tribute meet the “incredibly funny” standard. They were produced for MGM. These are not as well known or as widely seen as his cartoons for Warner Bros., where, most notably, Avery directed A WILD HARE (’40), the cartoon that established Bugs Bunny’s brash personality. Avery was an outlier at the tony studio that boasted “more stars than there are in the heavens.” MGM did make sparkling and sophisticated romantic comedies directed by the likes of George Cukor and Ernst Lubitsch, but MGM was where clowns went to die.

Buster Keaton wrote in his memoir that signing with MGM was “the worst mistake” of his career. THE CAMERMAN (’28) was an auspicious beginning, but gradually, Keaton lost the lion’s share of his creative control, suffered studio interference and was partnered with Jimmy Durante. The Marx Brothers’ association with the studio likewise began promisingly with A NIGHT AT THE OPERA (‘35), but soon the iconoclastic highs of the brothers’ Paramount films were but a dim memory and the brothers were relegated to playing second fiddle to insipid romantic leads like Kenny Baker and Florence Rice in AT THE CIRCUS (‘39).

But MGM could not tame Tex Avery. Or perhaps studio execs didn’t think animation was worth the time and trouble to meddle with, allowing him to work unimpeded. The best of the cartoons he made for the studio between 1942-55 put the “mad” in madcap, if that’s your idea of a good time. In his book, Adamson observes: “No artist, in any century, on any continent, in any medium, has ever succeeded in creating his own universe as thoroughly and overwhelmingly as Tex Avery.”

You might say that a Tex Avery cartoon is like that proverbial box of chocolates; you never know what you’re going to get. “Say, what kind of a cartoon is this gonna be, anyway?” asks the title character in SCREWBALL SQUIRREL (‘44), another of the Avery 7 to be featured in TCM’s mini-Avery-palooza. Well, it’s NOT going to be a charming Disney-esque romp with adorable forest creatures. Screwball Squirrel sees to that when he takes one of them behind a tree and violently disposes of him, assuring the audience, “The funny stuff will start as soon as the phone rings.”

BAD LUCK BLACKIE and KING-SIZE CANARY, two masterpieces that are highlights of TCM’s Avery cartoon block, break all rules of the physical world and nature. In the former, a black cat brings instant bad karma each time he crosses the path of a bullying bulldog. At one point, the unfortunate pooch must dodge a succession of falling objects that escalate from a sink to a battleship. In the latter, a chase between a cat, mouse and dog escalates to gigantic proportions thanks to a bottle of Jumbo Gro.

What critic James Agee wrote about the Marx Brothers also applies to Avery in that even lesser Tex is better worth seeing than most other things I can think of. SYMPHONY IN SLANG (’51) is a succession of silly sight gags inspired by a hipster’s arrival at the Pearly Gates. He tells his life story to a befuddled Noah Webster, who pictures literal translations to such phrases as, “I was born with a silver spoon in my mouth,” “It was raining cats and dogs” and “I died laughing.”

SCREWBALL SQUIRREL features some great self-referential gags, such as the title character peeking ahead to the next scene to figure out what to do next. But the character was so obnoxious that he was actually killed off at the end of his fifth, and final, cartoon.

Avery’s influence is vast. When in THE LITTLE MERMAID (‘89), Sebastian’s jaw drops like an anvil when he spies Ariel nursing an injured Prince Eric, that’s a classic Tex Avery take. THE MASK (‘94) pays direct homage to RED HOT RIDING HOOD when Jim Carrey’s Mask man is undone by nightclub chanteuse Cameron Diaz. And the Tex Avery force is strong in Animaniacs’ helter-skelter pacing and fourth-wall breaking.

But there is nothing like the real thing. No one made cartoons that were loonier. The secret? As Avery told Joe Adamson, he didn’t think in terms of the age of his audience: “I tried to do something I thought I would laugh at if I were to see it on the screen.”

[pussinbootsandbountyhunter]

Once Upon a Studio (Series) Season One; Episode Ten: Brothers vs Sisters

Info: Mickey and Oswald decided to battling out with Elsa and Anna after finding out that they had a strong bond between the sisters and the brothers might not have, but then the battle made them drift apart after an argument that made the others finding a way to get them back together

Characters that would be in this episode: Mickey Mouse, Oswald the Rabbit, Minnie Mouse, Ortenisa, Elsa, Anna, Olaf, Kristoff, Judy Hopps, Nick Wilde, Pinocchio, Jiminy Cricket, Tiana, Peter Pan, the Lost Boys, the Darling Children, Captain Hook, Lumire, Cogswoth, Goofy, Donald Duck, Daisy Duck, Mad Hatter, March Hare, White Rabbit, Alice, Rapunzel, Pascal, Timon, Pumbaa and Star

Note: I'm planning to do some once upon a studio series as everyone wants to see if they can lend a hand for me by likes, comments and reblogs their ideas and create arts if they want!

Hint: Someone’s shadow appeared once Mickey left the room while trying to figure out who wrote the letter to him

[blueiskewl]

Jean-Siméon Chardin's 'The Basket of Wild Strawberries' Sells For $26.8 Million  

The luminous 18th-century still life is the only known instance in which he painted strawberries.

Bidding battles in Old Masters auctions aren’t exactly unheard of, but they’re not as frequent—nor as explosive—as ones in contemporary art sales. So it was a pleasant surprise this week when a still life of a heap of strawberries set a Paris salesroom ablaze.

The work, titled The Basket of Wild Strawberries and painted by 18th-century French artist Jean-Baptiste-Simeon Chardin, soared far beyond its high €15 million($16.5 million) estimate to fetch a remarkable €24.4 million ($26.8 million) with premium on March 23 at Artcurial. (Presale estimates do not include fees.)

The buyer was New York art dealer Adam Williams, according to the Art Newspaper.

The final price marked a new auction record for the artist, shattering the previous one of $8 million that was achieved just a few months ago for La Fontaine at Christie’s Paris, according to the Artnet Price Database. Artcurial said the result was a record for any 18th-century French painting sold at auction.

So what makes the work so special?

The consensus, said Harry Smith, executive chairman at the art advisory Gurr Johns, is that the work is “absolutely amazing,” in part because it’s Chardin’s only known strawberry still life.

“That type of still life was the father of all the great still lifes in the second half of the 19th century,” Smith said, citing works by Cézanne and Manet. “All those beautiful works look back to Chardin. He was unique in France in the sense that he didn’t need to make grand portraits in the Rococo style like Boucher and Fragonard. Instead, he just did his own thing very quietly, and his work has fantastic simplicity.”

Smith said the price was entirely appropriate.

“For the price of the Chardin, you would could get halfway to a Cézanne, and it’s the best Chardin you could buy,” he said. “It seemed like a lot of money, but in time, I don’t think it will have been expensive. I just think it’s a great picture and Adam is a lucky man.”

The record for a Cézanne still life at auction is $60.5 million for Rideau, cruchon et compôtier (circa 1893), which was sold as part of the John Hay Whitney collection at Sotheby’s New York in 1999.

Chardin, the son of a cabinetmaker, was born in Paris in 1699 and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio in the Louvre.

According to Artcurial, Chardin painted approximately 120 still lifes and often depicted the same objects, particularly goblets, teapots, hares, plums, melons, and peaches.

The strawberry picture was exhibited at the Salon of 1761, and rediscovered a century later before disappearing from public view until several 20th-century retrospectives in Paris. Over time, Basket of Wild Strawberries become one of the most famous and emblematic images of the French 18th century, and was regularly reproduced in catalogues dedicated to the artist.

The work eventually became one of the masterpieces of the Marcille collection of nearly 4,500 paintings, including 40 canvases by Boucher, 30 by Chardin, and 25 by Fragonard.

According to the Art Newspaper, Old Master paintings specialist Eric Turquin advised on the sale and wrote the catalogue entry. He also said the underbidders were a London gallery bidding for a private American collector, and Eric Coatalem, a Parisian dealer, whose interest “pushed the picture up to €15 million.” Turquin said he will receive a percentage of the sale proceeds.

By Eileen Kinsella.

[rushingheadlong]

Huge thanks to a very dear friend who bought this article out from underneath me from an ebay auction, and then sent to me as a surprise!

Originally published in Melody Maker in late 1974 (exact date unknown). Full article text below the read more.

The MERLIN File

EVOLUTION: Merlin's manager, Derek Chick, and Allan Love decided in May 1973 to form a new London-based group that would incorporate three basic essentials: musicianship, image and stage presentation. After extensive auditions and rehearsals the band was gigging by July under the name Madrigal, which was changed in February 1974 to Merlin.

PERSONNEL CHANGES: Jacob Magmusson (keyboards) left in October 1973 and Paul Taylor (bass) in September 1974.

ORIGIN OF NAME: Scully Wagon-Lit's idea in the van going to a gig.

FIRST PUBLIC APPEARANCE: Zero 6, Southend, 17/July/1973.

FIRST BROADCAST: BBC Radio One David Hamilton Show and Radio Luxembourg Power Play consecutively in March 1974.

FIRST TELEVISION: Scottish TV's Showcase in November 1973.

MANAGEMENT: Derek Chick, Chic's Own Music and Management Ltd, 246/248 Great Portland Street, London W1 (01-381 6192/3).

AGENT: Barry Collings Agency Ltd, 15 Claremont Road, Westcliff-on-Sea, Essex (0702-47343/43464).

RECORDING COMPANY: CBS Records Ltd, 28-30 Theobalds Road, London WC1 (01-242 9000).

RECORD PRODUCER: Roger Greenaway.

MUSIC PUBLISHING COMPANY: Shapiro, Bernstein and Co Ltd, 246/248 Great Portland Street, London W1 (01-387 6192) and Grenyoco Music Ltd, 108 Park Street, London W1 (01-493 6439).

FAN CLUB: Ling, 17 Gladstone Park Gardens, Cricklewood, London NW2.

BRITISH TOURS: 47 dates 1/March-28/April/1974 Top Rank ballrooms, clubs and colleges. Solo tour.

AMERICAN TOURS: None.

TRANSPORT: Ford DO607 3-ton truck for the equipment and Audi 100 for the group.

STAGE MANAGERS: Iain Ward (Sound Engineer), Chris Taylor (Lighting Engineer), "Speedy" (Stage Roadie), "Crystal" (Assistant Lighting Engineer).

SINGLES: "(Let Me) Put My Spell On You" c/w "Just ANother Fish On My Hook (CBS, 1/March/1974), "Alright" c/w "Pictures In My Mind" (CBS, 28/June/1974), "Wild Cat" c/w "Half A Man" (CBS, 1/Nov/1974).

ALBUMS: "Merlin" (CBS, 25/Oct/1974).

P.A.: 1400-watt JBL system comprising Kelsey 16-channel stereo custom mixer, 4 x DC3000 Crown amps, 4 x bass bins with 2 x 15 inch JBL speakers in each, 2 x mid range JBL horns, 2 x high-frequency JBL boxes with lens horns, two bullets. Microphones are 8 Sure Unidyne III 545, 2 AKG 190C, one AKG D12, 4 Calrec condensers, 4 Sims Watts condensers, 3 Sure Unisphere B. Binson Echorec and Mavis 3-way active stereo crossover with stage boxes, cables, etc. Lighting comprises 6 x 100 watt Strand Floods on stage, 30 x 200 watt Strand Floods on stage scaffolding, 3 x Strand 1,000-watt follow spots and stands, 2 x Strobes and a Strand dimmer board.

ALAN LOVE: Vocalist

BORN: Hampsted, North West London. 13/Dec./1952.

EDUCATED: Challoner School, Finchley, North London.

MUSICAL TRAINING: None.

MUSICAL CAREER: Has been professional for seven years, playing in Opal Butterfly from 1967 to 1969 with Simon King (Hawkwing) and Tom Doherty (Sting). Referendum from 1969 to 1973 and Madrigal/Merlin from 1973.

OTHER OCCUPATIONS: None.

MUSICAL INFLUENCES: Mick Jagger, Joe Cocker, Little Richard.

COMPOSITIONS: "Half A Man," "Space Raider" and co-wrote with Gary Hardwick "Getting Involved" all recorded by Merlin.

FAVOURITE SINGLES: "Something In The Air" (Thunderclap Newman), "McArthur Park" (Richard Harris).

FAVOURITE ALBUMS: "Tapestry" (Carol King), "Court Of The Crimson King" (King Crimson), "Bridge Over Troubled Waters" (Simon and Garfunkel).

FAVOURITE MUSICIANS: Paul McCartney, Steve Howe, Tom Doherty.

FAVOURITE SONGWRITERS: Lennon and McCartney, Cat Stevens, Carol King.

FAVOURITE SINGERS: Joe Cocker, Neil Diamond.

RESIDENCE: Bachelor flat in Wandsworth, South West London.

INSTRUMENTS: None.

GARY ALICE STRANGE: Bass, vocals and guitar.

BORN: Hampsted, London. 26/Oct./1952.

EDUCATED: Whitefield School, Barnet.

MUSICAL TRAINING: Three classical guitar lessons and then self taught.

MUSICAL CAREER: Various semi-pro bands and wrote first song aged 16 featured on ATV programme "Come Here Often." Former band with Dave Martin called March Hare and recorded LP for MAM. Group then changed to newly-formed Kinks Production Company, but after few months of touring with Kinks and recording, split up. Joined Merlin.

OTHER OCCUPATIONS: Director of La Starza Palace Studio.

MUSICAL INFLUENCES: Beatles, Stones, Free, Average White Band.

COMPOSITIONS: "Gipsy Rose Lee" and "Lay Me Down" for March Hare both issued as singles by MAM.

FAVOURITE SINGLES: "I Am A Walrus" (Beatles), "Need Your Love So Bad" (Fleetwood Mac), "Little Bit Of Love" (Free), "Amoureuse" (Kiki Dee).

FAVOURITE ALBUMS: "Elf" (Elf), "Sgt Pepper" (Beatles), "Talking Book" (Stevie Wonder).

FAVOURITE MUSICIANS: Andy Fraser, David Martin, Peter Green, Liberace.

FAVOURITE SONGWRITERS: Lennon and McCartney, Holland, Dozier and Holland, Lional Bart and Paul Simon.

FAVOURITE SINGERS: Paul Rodgers, Elvis Presley, Tina Turner, Rod Stewart.

RESIDENCE: Single and lives in Hampstead, North West London.

INSTRUMENTS: Fender Precision Bass with thin maple neck. Hagstrom six-string guitar with pick-up. Kemble baby grand piano. Rotosound Roundwound strings. Orange 120-watt amp with 2 x 15 inch reflex cabinets.

JAMIE MOSES: Lead guitar and vocals.

BORN: Ipswich, Suffolk, 30/Aug/1955.

EDUCATED: Schools in America and Japan. Shirley High School and Redhill Technical College in Surrey.

MUSICAL TRAINING: Self-taught.

MUSICAL CAREER: Given first guitar when ten, formed first band at 11. Formed the Inferno, 1969-71, in Japan, doing gigs, radio, TV. Came to England in 1971, worked with semi-pro bands and at a music shop in Croydon. Formed Angel with Scully 1972 and recorded LP of original material. Joined Madrigal July 1973.

MUSICAL INFLUENCES: Jimmy Page, Paul Kossoff, Beatles.

COMPOSITIONS: "Just Another Fish On My Hook", "Gypsy", and "He Thinks About You All The Time" all recorded by Merlin. Co-wrote "Angel" LP with Scully.

FAVOURITE SINGLES: "Livin' For The City" (Stevie Wonder), "Can't Get Enough" (Bad Company), "Joybringer" (Manfred Mann's Earthband).

FAVOURITE ALBUMS: "Foxtrot" by Genesis.

FAVOURITE MUSICIANS: Genesis, Steve Howe, Free, Scully Wagon-Lits.

FAVOURITE SONGWRITERS: Paul McCartney, Genesis, Stevie Wonder.

FAVOURITE SINGERS: Paul Rodgers, Peter Gabriel, Mario Lanza and David Coverdale.

RESIDENCE: Is single and lives with his parents at Sanderstead, Surrey.

INSTRUMENTS: White Les Paul Deluxe (1973) and black Les Paul Custom (1974), both with Rotosound ultra-light strings and Gibson plectrums. EKO 6-string acoustic guitar with La Bella strings. Hiwatt 100-watt amp fitted with half power switch for distortion and sustain at almost any volume. Two 2 x 15 Fender Dual Showman JBL Cabinets. A cheap Japanese fuzz box with a three-tone fuzz switch.

SCULLY WAGON-LITS: Keyboards, guitar and vocals.

BORN: Balham, South West London, 20/Dec./1953.

EDUCATED: Henry Cavendish (Balham), Bec School (Tooting) and Archbishop Tennison (South Croydon).

MUSICAL TRAINING: Guitar lessons at night school for one year aged eight, cello at school for three years and double bass for two months, but is self-taught on keyboards.

MUSICAL CAREER: Played guitar in band in Balham (1964-65), joined Angel with Jamie (1972-1973) as semi-pros and recorded an album. Turned pro June 1973 with Big Wheel in South France. Joined Madrigal October 1973.

OTHER OCCUPATIONS: Organ salesman at Western Music and Selmer.

MUSICAL INFLUENCES: Harry Stoneham, Miller Anderson, Keith Emerson, Christian Vander.

COMPOSITIONS: "Marina," "Takin' Part," "Pictures In My Mind," etc.

FAVOURITE SINGLES: "Rock Man" (Elton John), "Space Oddity" (David Bowie).

FAVOURITE ALBUMS: "Tarkis" (ELP), "Fire And Water" (Free), "Dark Side Of The Moon (Pink Floyd).

FAVOURITE MUSICIANS: Keith Emerson, Tony Banks, Steve Howe.

FAVOURITE SONGWRITERS: Paul McCartney.

FAVOURITE SINGERS: Paul Rodgers, Stevie Wonder, Peter Gabriel, Greg Lake

RESIDENCE: Single and lives in Surrey.

INSTRUMENTS: Hamond RT3 with additional height plynth and customised guts driven through Hiwatt amps and put out through one Leslie 145 and two RSE 1 x 15 inch JBL bins and three custom-made Werlin Bat rotating horn units. Muri-Moog (modified) through Hiwatt 100-watt amp with JBL Showman Cabinet. Hagspiel grand piano, with scaffolding, miked through PA. Black Gibson SB Les Paul Junior (1960) plugged into Moog.

DAVID WIGHTWICK: Drums and vocals.

BORN: Dunstable, Bedfordshire, 25/August/1950.

EDUCATED: Priory Secondary School, Dunstable.

MUSICAL TRAINING: Self-taught.

MUSICAL CAREER: Former member of Madrigal from 1967 to 1973. The band split and was reformed with new members and retitled Merlin.

OTHER OCCUPATIONS: Varied from soldier to postman.

MUSICAL INFLUENCES: Beatles, The Move, Genesis.

COMPOSITIONS: None.

FAVOURITE SINGLES: "Say You Don't Mind" (Colin Blunstone), "Motet Overture" (Abors), "Eleanor Rigby" (Beatles)

FAVOURITE ALBUMS: "Dark Side Of The Moon (Pink Floyd), "Erismore" (Colin Blunstone), "Tubular Bells" (Mike Oldfield), "Moving Waves" (Focus).

FAVOURITE MUSICIANS: Carl Palmer, Jon Bonham, Simon Kirke.

FAVOURITE SONGWRITERS: Lennon and McCartney, Colin Blunstone, Genesis.

FAVOURITE SINGERS: Ian Billan, Colin Blunstone, Karen Carpenter.

RESIDENCE: Flat in London.

INSTRUMENTS: Hayman see-through drumkit comprising 1 x 22 inch bass drum, 1 x 12 inch and 1 x 13 inch mounted tom-toms, 1 x 16 inch and 1 x 18 inch floor tom toms, 1 x 14 inch snare drum, Ludwig/Paiste 22 inch cymbal, 1 x 22 inch and 1 x 20 inch Zildjian ride cymbals, 1 x 18 inch Zildjian crash cymbal, 1 x 14 inch Zildjian hi-hat, Ludwig and Hayman accessories and Premier C and Selmer sticks.