Every Thing On It is a lovely new book of 137 never-before-seen poems and drawings, only the second posthumous anthology published since Silverstein’s passing in 1999.
A spider lives inside my head
Who weaves a strange and wondrous web
Of silken threads and silver strings
To catch all sorts of flying things,
Like crumbs of thought and bits of smiles
And specks of dried-up tears,
And dust of dreams that catch and cling
For years and years and years . . .
To celebrate the new release, here is a 1973 animated adaptation of The Giving Tree, read by Silverstein himself — a priceless memento of one of our era’s most wholehearted creators.
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What lovable dinosaurs have to do with chalkboard, Cab Calloway and the hypocrisies of Hollywood.
While California may have its Pixar and Dreamworks, much of the talent that gave animation its start hailed from New York. Today, we turn to the seminal work of five such pioneering animators who did New York proud, a follow-up to our recent omnibus of five early animation pioneers.
J. STUART BLACKTON
J. Stuart Blackton may be best-known for his 1900 masterpiece, The Enchanted Drawing, which earned him the credit of having pioneered animation in America. But his 1906 gem Humorous Phases of Funny Faces, while less well-known, is equally important and era-defining as the earliest surviving American animated film in the strict sense of single-exposures of drawings simulating movement — in this case, using chalkboard sketches and cut-outs.
Max Fleischer, a pioneer of animated cartoons, brought us the iconic Betty Boop, Koko the Clown and Popeye characters. In 1932, Betty Boop appeared in “Minnie the Moocher,” a jazz classic by the legendary Cab Calloway.
In 1911, Winsor McCay created the landmark film Little Nemo, which is often debated as the first “true” animation. Three years later, his Gertie the Dinosaur claimed its place in history as the first cartoon to feature a character with a well-definted, lovable personality.
Otto Messmer is best-known as the creator of the Felix the Cat cartoons and comic strips, produced by Pat Sullivan studio. In this 1923 episode, Felix goes to Hollywood, where he encounters celebrities like Charlie Chaplin, Ben Turpin and Will Hays. Underpinning the cartoon are Messmer’s subtle stabs at Hollywood’s corrupt morals and many hypocrisies.
Most of us know animator, director, producer and cartoonist Walter Lantz as the creator of Woody Woodpecker. In 1926, some 15 years before Woody, Lantz produced Tail of the Monkey, blending live-action film with cartoon animation.
Besides inventing the process of cel animation in the early 1910s, Earl Hurd created the once influential and now sadly nearly-forgotten Bobby Bumps animated shorts. Sample them with this treat from 1916: Bobby Bumps and the Stork.
Between 1915 and 1955, Paul Terry produced some 1,300 cartoons, many under his popular Terrytoons studio. Among them was the 1923 gem A Cat’s Life — which, some might say, got a head start on the viral cat videos meme by some 80 years.
From poppies to paupers, or what Cold War politics have to do with the social psychology of addiction.
Last month, we were entertained by a 1970s “documentary” that explained the dangers of drugs in LEGO. Today, we turn to Drug Addiction, produced by Encyclopedia Britannica’s film division in 1951. Though most of it follows the classic “slippery-slope” narrative of Cold-War-era anti-drug propaganda, it also features this stunning two-minute black-and-white animation on how heroin, opium, marijuana and cocaine are derived and how they work.
From John Travolta to Eurotrash, or what Chicago’s basements have to do with Moscow’s nightlife.
Few movements in music have gained as much critical mass as house music. Pump Up The Volume: A History of House Music is a fantastic 2001 documentary about one of the biggest music groundswells in history, which began in basements and ended up at the forefront of pop culture. Available on YouTube in 13 parts and gathered in this playlist for your viewing pleasure, the film traces house music from its early days as New York disco to its engulfing takeover of Europe’s dance scene through fascinating interviews with the people who propelled the movement and rare footage of the clubs where it came of age.
From the very beginning, it was really the gay and black people that kept dance music alive. Disco, dance music, was really danceable R&B music that we were dancing to, and it wasn’t until Saturday Night Fever came along that it exploded and every goomba in the suburbs started dancing.” ~ Mel Cheren, West End Records
A long-out-of-print but excellent companion book can be found with some poking around Amazon.
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