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love-takes-work · 3 years

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Notes on SU Commentary Tracks

I watched the commentary tracks on the Complete Steven Universe DVD Set and I took some nerd notes.

The episodes with commentary tracks are “Reunited,” “Change Your Mind,” and “The Future.”

I’ll bold stuff that was maybe bigger news or more surprising for easier reading. And yes, some of this was already known from podcasts, other Q&As, or interviews, but I listed it if they said it again here.

Read on after the jump to read these and other highlights:

Steven’s original wedding speech

Older ideas on dialogue for Lapis when she came back to the beach

Scrapped concepts for the scene that ultimately included Steven communicating with the others in a mindscape

Discussions of earlier concepts for White Diamond having a power to “freeze” Gems into statues to make them perfect and having a gallery of them on Homeworld

Pink Pearl’s original fate

The translation of the writing on Obsidian’s sword

The origin of Pink Steven’s design

What Rebecca did to pitch the “SHE’S GONE” scene

Earlier plans to include Shep in “Change Your Mind”

An unused concept of how Steven feels about Biggs

The inspiration for the Heaven and Earth Beetles’ healed design

How Volleyball/Pink Pearl was almost a mini-villain

Discussion of how they did not get to share the origin of the Diamonds

Jasper’s scrapped participation in the movie

“Reunited” -

Commentary with Rebecca Sugar, Ben Levin, Matt Burnett, Hilary Florido, Joe Johnston, Ian Jones-Quartey, and Kat Morris.

In 2015, an episode idea called “If You Love Yourself So Much” was discussed but rejected. It included some early ideas that ended up getting incorporated into “Reunited,” most notably Garnet marrying herself and putting rings on both hands.

The idea of the Cluster arm wrestling was planned for a long time. A scrapped idea of Steven banging his fist on a vending machine to get some Chaaaaps was supposed to visually parallel some of that scene, but it was axed.

When they got pushback on the wedding idea, they kept adding more and more “high entertainment value” items like a big musical number so the episode would be absolutely unmissable and appealing to everyone.

The song at the beginning of the episode was meant to check in with the entire cast and sort of remind you they exist and what their state of mind is going into the wedding.

Ian made a comment joking about “All 15 people in Beach City” being in the audience.

Just about everyone on the Crew touched this episode, despite that there are four main storyboarders credited for “Reunited.”

In 2016 Ian Jones-Quartey proposed marriage to Rebecca Sugar. They felt like the characters based on them (Sapphire and Ruby) HAD to get married in the show now because otherwise it wouldn’t be honest. But then their characters got married before they did.

They really love the idea of having characters get married who have known each other for a really long time, versus the fairy tale trope of movies ending with weddings between people who have met very recently.

Steven’s speech as officiator at the wedding used to be longer in its first draft--it was described as being weird and full of jokes, and there would have been a scene with Pearl getting weepy and pulling tissues out of her pearl.

Ian mentions loving a joke Jeff came up with having Greg play one chord to make Steven fall asleep--it’s sort of a “dream” chord you hear in cartoons a lot before a dream sequence.

The Crew discussed what it might be like if someone had never seen the show before and started with this episode.

Ian really wanted Steven’s psychic powers to figure into the episode.

Blue using a sadness wave to attack the Gems was a very old idea they’d planned for a long time. So was Lapis’s arrival.

There was a discussion of having Lisa Hannigan performing her lines as Blue VERY early in the morning.

Ian was happy the sword got broken because it was so momentous but it was just a sword. And later appeared on a shelf in the house as an artifact.

Miki had drawn a torn dress for Garnet at one point so she could be shown fighting and moving around more accurately, and this led to a long discussion of whether Gem clothing can even actually get torn the way human clothes can. They concluded that no, it shouldn’t be torn, so they backed up and gave Garnet an open-front dress from the beginning so the fighting version would make more sense.

Lapis originally might have had a longer speech upon arriving back on the beach. They eventually decided to just have her say “Hey.”

The barn falling on Blue Diamond was an intentional Wizard of Oz reference.

They point out that Steven even once said “drop the barn on the beach” (in a previous episode, “Can’t Go Back,” which was also a Miki episode).

Destroying the house was a big deal, and they always thought they’d end up doing it but backed away from it until “Reunited.” They almost even did it back in “Coach Steven”! But it just ended up with a little damage to the porch.

The Crew thinks Miki is really good at drawing ensemble shots.

Rebecca was always overwhelmed whenever she got to have Patti LuPone record for Yellow.

Originally the giant figures of everyone’s statue bodies in the mindscape were too dark and had to be revamped so they could be seen.

An earlier idea of Steven’s “psychic-ghost-situation” had him as a ghost actually trying to interact with the other characters during fighting action, but it was pulled back to this mindscape so there wouldn’t be as much confusing action to keep track of and more focus on what Steven was doing to encourage his teammates and contact the Diamonds.

Hilary was glad not to have to block out a fight.

Ian mentions loving having Bismuth back in the group.

They originally wanted the “Diamonds sensing Pink’s energy” plot to happen when Steven was in the palace somehow, but everything got moved to this scene--which the Crew all agrees turned out incredible, like how cool it was to have Steven essentially reminding each character why they fight and summing up their whole arc in a sentence.

“Change Your Mind”

Commentary with Rebecca Sugar, Ben Levin, Matt Burnett, Hilary Florido, Joe Johnston, Ian Jones-Quartey, and Kat Morris.

They like to refer to this episode as “The movie before the movie.”

They loved incorporating “princess tropes” into Steven’s time on Homeworld, which is why there were so many references to “mice” (well, Pebbles) making clothes, being locked in a tower, being reminded of his manners, loving animals and freeing imprisoned pets, etc.

Deedee did the voice of the rainbow worm pet. She apparently didn’t find it memorable and was surprised when she was reminded she did the voice.

Rebecca was super excited for the confrontation with Blue.

There was some discussion of how Steven would have died of starvation if he didn’t have someone practical like Connie to remember to bring food.

They love working with the huge scale the Diamonds present.

The Crew always wanted to put someone in Blue’s hair loop. Originally they wanted Blue to tuck Greg in there when she kidnapped him, but they didn’t end up being able to do any hair-loop-carrying until this episode.

The Crew bantered back and forth about what the heck those Pebbles’ names were and how hard it was to track them.

They agreed that Paul draws the best Yellow Diamond, which makes sense since he also drew the first episode with Yellow (and her stink face).

The scene where Yellow asks Blue to stop using her powers on her and then realizing she’s crying on her own was one of Rebecca’s favorite scenes to get to finally.

Steven Sugar thought Gems would spend a lot of time in their own chambers/rooms just not really doing much of anything unless they had to fulfill their purpose.

Some of the Homeworld ideas were based on a Soviet artist’s concepts, Boris Artzybasheff, and also many ideas were inspired by Busby Berkeley regarding how people were objects and furniture.

The mech was an old idea. Once they had the hand ship from “Jailbreak,” they knew there had to be bodies somewhere.

They focused a lot about what could be the coolest and funniest way for something to happen. The concept of the yellow and blue spaceship arms appearing out of the sky to smack the White Diamond mech around was one of those.

Rebecca really wanted things to look more and more cartoony and bizarre as you get deeper into Homeworld.

They spent a very long time trying to decide on characters’ new outfits.

The trash can lid is said to be a reference to “a flying bear cartoon” and they dance around speaking a direct reference because they’re not sure they’re allowed to say its name.

In discussing the powers of the Diamonds, there were debates on what White’s power would be; with Yellow being physicality-based and Blue being emotion-based, they thought White as identity-based made the most sense.

Different ways to express this were played with before settling on the idea that she thinks she’s perfect and others’ colors make them less like her and less perfect. But then she becomes a hostage to her own beliefs about herself because if she does anything that reflects on everyone else, so it’s best to do nothing.

They had some cool earlier ideas of White’s powers making statues out of other Gems and having a gallery full of frozen Gems, frozen by White to make them perfect.

They also weren’t sure what fate befell the original Pink Pearl and discussed whether she might have been destroyed.

Rebecca discussed how creepy it was to have White Pearl speaking in Christine’s voice and not Deedee’s--that we should find it fundamentally disturbing at this point.

Tom Herpich came up with the crack on White Pearl’s face.

In real life, pink diamonds aren’t understood as well as yellows and blues. It’s more known what makes a diamond yellow or blue, and some of those facts Rebecca researched were originally woven into the speech White gave about their “impurities.” But it turned out to be too dry and most of it got cut.

Rebecca loves having Lapis with pants and sandals for easier cosplay.

Ian had to draw the scene where Steven is falling and fusing with inert characters--he wasn’t able to properly explain it to Rebecca so she had him draw it.

They really wanted Rainbow Quartz 2.0 to have a scarf, but they couldn’t figure out how to get that into Pearl’s design. They miss the scarf.

It was really important to have these Fusions display call-forwards of the Gems’ new outfits which we hadn’t yet seen.

Rebecca points out that Sunstone’s design breaks a design rule and she feels like Sunstone should have Garnet’s pant leg colors on their legs, but at the same time she understands the rule of cool and likes it like this.

It’s discussed how none of Steven’s fusion weapons are exclusively offensive weapons either.

Rebecca still really wants a suction cup Sunstone toy.

Sunstone’s ability to transcend reality and break the fourth wall was a joke that exploded in the discussion room among the Crew. As soon as the idea was pitched everyone kept coming up with ideas. Sardonyx’s fourth-wall-breaking is more snarky, but Sunstone’s is helpful.

Rebecca was disappointed that the rule about Steven’s clothes wasn’t always followed with having his clothes appear on Obsidian’s hand, but she was delighted that you could see them in one scene.

They spent a lot of discussion time on making sure Steven-Obsidian was different somehow from Rose-Obsidian. The hair is different.

Old versions of Obsidian were drawn with wrapped-together Twizzlers legs, which sort of is reflected in the present design.

The sword had been planned forever--and it first appeared in “Bubble Buddies.”

Miki worked on the Ninja Turtles show so Rebecca was really excited to see her depictions of Bismuth and Sunstone.

An early plan to have Obsidian draw the sword from their mouth was complicated because fusion weapons should be combinations, so they finally reached the solution of having them combine to make the hilt, then get the blade out of Obsidian’s mouth.

The blade of the sword is thought to say “We’ll always save the day,” but you’d have to ask Steven Sugar.

Another really old idea was climbing into the White Diamond mech eye.

Rebecca was disappointed that some of the merch made of White Diamond did not feature her cape sparkles.

There were many debates early on about where Rose might “actually” be. There were tons of references to this fundamental question throughout the show--introducing Lapis as a Gem trapped in an object, having Pearl ponder pulling Steven’s Gem out as a baby, straight-up wondering what would happen to him in “Bubbled” when Eyeball was trying to take his Gem, etc. They all decided Rose was definitely gone but that the idea of her possibly being inside him should be on his mind a lot, leading to disturbing images like dreaming about coughing up her hair.

Yellow Diamond and Blue Diamond both challenged Steven about things he was very confident about, but White’s question of his identity got to him because he in fact is not confident about that.

The black and white eeriness of the fuzzy background and the other characters having their colors washed out helped make the scene in White Diamond’s head so disturbing and creepy.

The split screen showing Steven’s two perspectives was exciting to Rebecca, and was a pretty old idea. And she points out it sort of “breaks the show.”

The Gem Steven, Pink Steven, was represented by a slightly modified version of his model sheet. Everyone laughed when they saw what was getting used.

They decided that an earlier idea of Pink Steven looking angry should be replaced by an emotionless version of him. All the emotion should be with Organic Steven.

In the pitch meeting for this episode, Rebecca herself screamed “SHE’S GONE!!” and shocked the hell out of everyone. She pointed out how no one expected this of her because she’s pretty quiet, but she just wanted to shock everyone the way Steven would in the show.

They point out this is the first appearance of the geometric shield that got so much use in Future.

The fact that Steven is Steven is the ultimate reveal of the show. Usually in fantasy shows there’s some other kind of revelation, but Steven just being amazingly human and amazingly Gem and amazingly himself is wonderful here.

They like having the pilot reference with “What’s your excuse?”

If Rose had somehow still been alive in him, all of this would have been cheapened.

Ian loves that you can faintly hear Sadie’s concert from way out in space as the camera approaches Earth.

They got a lot more use out of the Beach-A-Palooza stage than they thought they would when it had to be designed for “Steven and the Stevens.” There was a joke about how at one of the conventions a real Beach-A-Palooza stage was constructed and they had a thought about how oh good, it’s getting reused.

Sadie having green hair in the finale was a late change but they liked showing her progression.

They had originally kicked around the idea of Sadie already having her new partner Shep at this point, but decided to develop that in Future instead.

They compare White Diamond’s stepping gingerly into the fountain to skeptically getting into a public pool.

Some silliness they didn’t get to use was that Biggs would be “beloved by everyone” except Steven. They never got to cover it, but originally Steven was just going to not really understand why everyone loves her so much and doesn’t personally much care for her.

The Heaven and Earth Beetles are based on the Mothra Ladies.

The healed Gems’ horns are supposed to be side effects of the corruption that they continue to bear in the present.

Larimar and Orange Spodumene ended up different in the ending scene than they became in Future. Many of the designs were retroactively pulled into this scene after being designed for the movie.

Rebecca wrote “Change Your Mind” as a personal song to express her feelings surrounding her fight for the wedding.

“The Future”

Commentary with Rebecca Sugar, Kat Morris, Alonso Ramirez Ramos, Hilary Florido, Joe Johnston, and Ian Jones-Quartey.

The animatic for this episode ran SO long--they’re supposed to be just over 11 minutes but this one was 17 minutes.

Steven’s calisthenics routine, a callback to “Future Vision,” was on the chopping block to make the episode shorter but Rebecca wouldn’t allow it to be cut because she wanted to show that Steven’s been taking care of himself.

They were very excited to get a chance to cover some of the things in Future that they couldn’t squeeze into the original show, like the unbubbled Rose Quartzes, Volleyball, etc.

The new writers on the show also helped bring forward the idea of Steven finally making some of his OWN mistakes to fix.

This also helped construct the idea of Steven essentially being the “final boss” of his own battle.

Usually stories that involve someone being in a fight and winning don’t explore the effect just being in a fight has on a person, regardless of whether you won.

Rebecca really wanted to play Ocarina of Time after beating it so she could go back to all the places and see how people were doing. She wanted this epilogue series to explore that a little too.

Little Homeschool is sort of a Tiny Toons reference--older cartoons teach younger cartoons how to be cartoons, and this is Gems teaching other Gems how to be Gems on Earth.

Lamar came up with the silly joke about receiving that art set with all the different media types in it--the one artists are always getting from a well-meaning relative at holiday time.

A scrapped plot idea involved Volleyball/Pink Pearl as a sort of “mini-villain,” with a focus on her activating the un-activated Pearls.

There’s discussion of how victimization turns people into villains sometimes. But since showing that happening with Volleyball wouldn’t have served the interests of Steven’s arc, they couldn’t fit it in.

There was also a “very specific” Gem origin and Diamond origin story that’s quasi-religious in nature--it’s very cool and complicated. But they do not tell us what it is.

Ian and Joe both really wanted to have Jasper living alone in the woods and stacking rocks. They’re glad they got this series to do that with her.

There was originally an idea for a B-plot involving Jasper in the movie. They don’t discuss the specifics.

There were many ideas they didn’t get to work on because they would have started new arcs and Future was not about kicking new plots into gear.

“Mr. Universe” was the last episode they wrote/finished.

Miki really wanted to include a kiss between Connie and Steven to show their relationship was okay. Among the Crew everyone knew their relationship was basically eternal but Miki wanted to make sure WE knew that.

Steven driving conveyed momentum for Future; in the original show, we always came back to the laundry hand, back to home, but in Future that’s changed and home isn’t what it was.

They were really excited that a gourd family made it to the crowd scene in Future.

Thanks for reading!

Note: The movie had some commentary tracks too, but the one on this DVD set is the same as the one released on the original standalone movie DVD, so I did not outline it here. Here is my post about the DVD commentary from the movie.

#steven universe #steven universe future #rebecca sugar #crewniverse #my su analysis #myblog

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shewhoworshipscarlin · 3 years

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Bert Williams

Bert Williams (November 12, 1874 – March 4, 1922) was a Bahamian-born American entertainer, one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He is credited as being the first black man to have the leading role in a film: Darktown Jubilee in 1914.[2]

He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world."

Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his three-decade-long career. Fellow vaudevillian W. C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw—and the saddest man I ever knew."

Williams was born in Nassau, The Bahamas, on November 12, 1874, to Frederick Williams Jr. and his wife Julia. At the age of 11, Bert permanently emigrated with his parents, moving to Florida in the United States. The family soon moved to Riverside, California, where he graduated from Riverside High School in 1892. In 1893, while still a teenager, he joined different West Coast minstrel shows, including Martin and Selig's Mastodon Minstrels in San Francisco, where he first met his future professional partner, George Walker.

He and Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. But they soon discovered that they got a better reaction by switching roles and subverting expectations. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business." A New York Times reviewer wrote: "He holds a face for minutes at a time, seemingly, and when he alters it, bring[s] a laugh by the least movement."

In late 1896, the pair were added to The Gold Bug, a struggling musical. The show did not survive, but Williams & Walker got good reviews, and were able to secure higher profile bookings. They headlined the Koster and Bial's vaudeville house for 36 weeks in 1896–97, where their spirited version of the cakewalk helped popularize the dance. The pair performed in burnt-cork blackface, as was customary at the time, billing themselves as "Two Real Coons" to distinguish their act from the many white minstrels also performing in blackface. Williams also made his first recordings in 1896, but none are known to survive. They participated in a "Benefit for New York's Poor" held on February 9, 1897 at the Metropolitan Opera House, their only appearance at that theater.

While playing off the "coon" formula, Williams & Walker's act and demeanor subtly undermined it as well. Camille Forbes wrote, "They called into question the possible realness of blackface performers who only emphasized their artificiality by recourse to burnt cork; after all, Williams did not really need the burnt cork to be black," despite his lighter skin complexion. He would pull on a wig full of kinky hair in order to help conceal his wavy hair. Terry Waldo also noted the layered irony in their cakewalk routine, which presented them as mainstream blacks performing a dance in a way that lampooned whites who'd mocked a black dance that originally satirized plantation whites' ostentatiously fussy mannerisms. The pair also made sure to present themselves as immaculately groomed and classily dressed in their publicity photos, which were used for advertising and on the covers of sheet music promoting their songs. In this way, they drew a contrast between their real-life comportment and the comical characters they portrayed onstage. However, this aspect of their act was ambiguous enough that some black newspapers still criticized the duo for failing to uplift the dignity of their race.

In 1899, Williams surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow eight years Bert's senior. Thus, the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple, and the union lasted until his death. The Williamses never had children biologically, but they adopted and reared three of Lottie's nieces. They also frequently sheltered orphans and foster children in their homes.

Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten.

The duo's international success established them as the most visible black performers in the world. They hoped to parlay this renown into a new, more elaborate and costly stage production, to be shown in the top-flight theaters. Williams and Walker's management team balked at the expense of this project, then sued the pair to prevent them from securing outside investors or representation. Filings in the suit revealed that each member of the team had earned approximately $120,000 from 1902 to 1904, or $3.5 million apiece in 2019 dollars. The lawsuit was unsuccessful, and Williams and Walker accepted an offer from Hammerstein's Victoria Theatre, the premiere vaudeville house in New York. A white Southern monologist objected to the integrated bill, but the show went ahead with Williams and Walker and without the objector.

In February 1906, Abyssinia, with a score co-written by Williams, premiered at the Majestic Theater. The show, which included live camels, was another smash. Aspects of the production continued the duo's cagey steps toward greater creative pride and freedom for black performers. The nation of Abyssinia (now Ethiopia) was the only African nation to remain sovereign during European colonization, repelling Italy's attempts at control in 1896. The show also included inklings of a love story, something that had never been tolerated in a black stage production before. Walker played a Kansas tourist while his wife, Aida, portrayed an Abyssinian princess. A scene between the two of them, while comic, presented Walker as a nervous suitor.

While the show was praised, many white critics were uncomfortable or uncertain about its cast's ambitions. One critic declared that audiences "do not care to see their own ways copied when they can have the real thing better done by white people," while the New York Evening Post thought the score "is at times too elaborate for them and a return to the plantation melodies would be a great improvement upon the 'grand opera' type, for which they are not suited either by temperament or by education." The Chicago Tribune remarked, disapprovingly, "there is hardly a trace of negroism in the play." George Walker was unbowed, telling the Toledo Bee, "It's all rot, this slapstick bandanna handkerchief bladder in the face act, with which negro acting is associated. It ought to die out and we are trying to kill it." Though the flashier Walker rarely had qualms about opposing the racial prejudice and limitations of the day, the more introspective and brooding Williams internalized his feelings.

In 1908, while starring in the successful Broadway production Bandanna Land, Williams and Walker were asked to appear at a charity benefit by George M. Cohan. Walter C. Kelly, a prominent monologist, protested and encouraged the other acts to withdraw from the show rather than appear alongside black performers; only two of the acts joined Kelly's boycott.

Bandanna Land continued the duo's series of hits and introduced a tour de force sketch that soon Williams made famous: his pantomime poker game. In total silence, Williams acted out a hand of poker, with only his facial expressions and body language conveying the dealer's up-and-down emotions as he considered his hand, reacted to the unseen actions of his invisible opponents, and weighed the pros and cons of raising or calling the bet. It later became a standard routine in his solo stage act, and was recorded on film by Biograph Studios in 1916.

Walker was in ill health by this point due to syphilis, which was then incurable. In January 1909 he suffered a stroke onstage while singing, and was forced to drop out of Bandanna Land the following month. The famous pair never performed in public again, and Walker died less than two years later. Walker had been the businessman and public spokesman for the duo. His absence left Williams professionally adrift.

After 16 years as half of a duo, Williams needed to reestablish himself as a solo act. In May 1909 he returned to Hammerstein's Victoria Theater and the high-class vaudeville circuit. His new act consisted of several songs, comic monologues in dialect, and a concluding dance. He received top billing and a high salary, but the White Rats of America, an organization of vaudevillians opposed to encroachments from blacks and women, intimidated the theater managers into reducing Williams' billing. The brash Walker would have resisted such an insult to his star status, but the more reserved Williams did not protest. Allies were few; big-time vaudeville managers were fearful of attracting a disproportionate number of black audience members and thus allowed only one black act per bill. Due to his ethnicity, Williams typically was forced to travel, eat and lodge separately from the rest of his fellow performers, increasing his sense of isolation following the loss of Walker.

In 1910, Booker T. Washington wrote of Williams: "He has done more for our race than I have. He has smiled his way into people's hearts; I have been obliged to fight my way." Gene Buck, who had discovered W. C. Fields in vaudeville and hired him for the Follies, wrote to a friend on the occasion of Fields' death: "Next to Bert Williams, Bill [Fields] was the greatest comic that ever lived."

Williams' stage career lagged after his final Follies appearance in 1919. His name was enough to open a show, but they had shorter, less profitable runs. In December 1921, Under the Bamboo Tree opened, to middling results. Williams still got good reviews, but the show did not. Williams developed pneumonia, but did not want to miss performances, knowing that he was the only thing keeping an otherwise moribund musical alive at the box office. However, Williams also emotionally suffered from the racial politics of the era, and did not feel fully accepted. He experienced almost chronic depression in his later years, coupled with alcoholism and insomnia.

On February 27, 1922, Williams collapsed during a performance in Detroit, Michigan, which the audience initially thought was a comic bit. Helped to his dressing room, Williams quipped, "That's a nice way to die. They was laughing when I made my last exit." He returned to New York, but his health worsened. He died at his home, 2309 Seventh Avenue in Manhattan, New York City on March 4, 1922 at the age of 47. Few had suspected that he was sick, and news of his death came as a public shock. More than 5,000 fans filed past his casket, and thousands more were turned away. A private service was held at the Masonic Lodge in Manhattan, where Williams broke his last barrier. He was the first black American to be so honored by the all-white Grand Lodge. When the Masons opened their doors for a public service, nearly 2,000 mourners of both races were admitted. Williams was buried in Woodlawn Cemetery in The Bronx, New York City.

https://en.wikipedia.org/wiki/Bert_Williams

#historical #actor #vaudeville #black history month #comedian

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ducktracy · 3 years

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188. porky’s poppa (1938)

release date: january 15th, 1938

series: looney tunes

director: bob clampett

starring: mel blanc (porky, porky’s poppa, narrator), bob clampett (duck)

it’s safe to say that 1938 was porky’s best year. speaking in terms of solo cartoons, that is. his cartoons were genuinely funny, stimulating, and he looked great appearance wise. 1939 the porky burnout started, and he was slowly reduced to a smiling stock character whose adversaries and costars were much more alive than he was.

as daffy (and later bugs) rose to popularity, porky slipped into the sidekick role, paired primarily with the duck. with that said, the porky/daffy cartoons are some of the funniest around, and i firmly believe the best cartoons for the both of them are the ones where they’re paired together—with a few exceptions, of course.

however, let’s not get ahead of ourselves: a great year of pig stardom awaits. porky’s father, who made a few appearances during the joe dougherty era, makes his final return. in a story that has loose similarities to the premise of porky’s railroad, porky struggles to convince his father that their cow, bessie, is a much better fit for the farm than the newfangled mechanical cow his father has his eyes on.

the introduction is one of the funniest aspects of the cartoon itself. a hand erases the title credits, scrawled on a blackboard, and fills in “PORKY’S POPPA... HAS A FARM”, mirroring the underscore of “old macdonald” (with substitute lyrics) below it.

a layout of the farm cuts to our pint-sized hero, grinning at the camera as the vocals sing “...and on this farm he had a pig: porky pig, you know.” bobe cannon animates porky struggling to sing along with the lyrics, his “oh buh-beh-boy!”s lagging with the beat. the music halts just in time for porky to pump his fists in frustration, not stuttering once as he grumbles “oh, skip it!”

repeatedly cutting back to the layout of the farm in conjunction with the lyrics is practically a gag within itself. the song grows increasingly absurd, with a goose honking horns, a cow showing off her legs as the vocals sing “with a little calf here, with a little calf there...”, struggling to keep up with the rapid pace of the song. bob clampett lends his own voice to a random duck (no relation to daffy!), following a hand pointing at certain areas of the farm and quacking (”with a little quack here, with a little quack there...”)

finally, the duck in his psuedo-donald duck voice instructs “EVERYBODY SING!”, complete with some fun and unique typography. the entire song falls to pieces--before, the cutting back to the farm’s layout added an incongruous feeling of calm to balance out the wacky antics of the animals and the song. now, everything happens at once. the duck zips across the screen in a quacking frenzy, the mother cow shows off her baby calves, thrusting them to the beat of the music, the goose is a one man band of assorted horns, etc. blissful chaos.

things slow down as we cut back to porky, who smugly whips out a phonograph behind his back. the record is just him saying “oh boy!”, playing correctly to the beat of the music. he’s got this song number figured out... or does he?

even technology can’t conceal his stutter. the record begins to skip, mimicking the sound of his stutter, and porky smashes the phonograph to pieces as he slams it against the ground. the wordless yet furious stare he gives the audience as the dying record croaks out a distorted “oooooooh..... boooooooooy....” is nothing short of priceless. though he didn’t say a word himself during this scene, his motives, thoughts, and emotions are clearly visible. you can FEEL his pride at his solution, as well of the subsequent fury of his solution blowing up in his face. a wonderful end to a hilarious song sequence.

“but on his farm, he has a mortgage... woe, oh woe, oh woe!” the score turns in to a mournful, minor key dirge, with anthropomorphic mortgage papers posing proudly on the farm. some very clever posing and metaphorical play as we fade to porky’s dad, moping around on the farm, the mortgage aligning with his silhouette and becoming a physical weight on his back. more playing with typography as the narrator reads aloud the words on the screen:

this is a parody of the march of time, a radio program who would often announce the death of a notorious person by declaring “and so, today, as it must to all men, death came to [name], [age].” even without the context, the gag is rather amusing, bringing a different change of pace to the cartoon with the addition of a narrator and the typography. knowing the source of the gag makes it hit just the right spot.

porky’s dad mutters about ruination, how he has no milk and no money, etc. mel blanc does a fine job of mimicking joe dougherty, maintaining the stutter and the low voice--in the dougherty cartoons, porky’s father was just dougherty’s natural speaking voice, whereas porky was sped up considerably. you can hear both at once here for comparison.

we pan over to the cause of one of these stresses: their cow, bessie, has been quarantined (how timely!) for “hoof ‘n mouth trouble”, a play on hand-foot-and-mouth disease. clampett opts to take things just a step further--we truck inside the stall to see bessie posing for the camera, grinning with her foot INSIDE her mouth, batting her eyelashes and all. the “bull bontana” (bull montana) poster plastered inside of her stall is a clever touch.

after seeing that bessie’s production chart has dipped overwhelmingly into the negatives--a roll of paper unfurling at porky’s father’s feet, indicating just how poor the farm is doing--he places an “out of order” sign on the stall door.

suddenly, porky’s father grows aggravated. “i need to send you to the hamburger factory!” cue a close-up of bessie tearfully picturing her fate--a pile of burgers and hotdogs make up her figure. clampett would reprise this gag (albeit in a much more cruel manner) in porky’s last stand 2 years later, where daffy eagerly envisions a steaming hot hamburger in place of an innocent little calf.

this is the second cartoon to make an ACME reference, the first being buddy’s bug hunt back in 1935. porky’s father phones up ACME mail order company, asking for “one cow--airmail”. context clues are just as important to the gag than the reveal itself: porky, his father, and bessie all become alert to the sounds of an airplane making a cacophony overhead. suddenly, a package bursts through the barn ceiling, floating to the ground with a neatly tied parachute. the animation appears to be the work of john carey, from the tall, pill-shaped eyes to the slow, drawn out way that porky blinks.

norm mccabe takes over to animate the grand reveal. lots of wonderful little subtleties: porky and his father are timed slightly differently, giving them both a natural sense of interaction and movement. there’s a lovely little accent on porky’s father opening the package by pulling a string--he jerks his head up slightly as he plucks the string, allowing the audience to feel the physical impact and snap of the pluck. it’s subtle, but very well done.

instead of a flesh and blood cow, a mechanical hunk of metal slowly unfurls to life as the package opens. as porky’s father reads the label (The New 1938 CREAMLINED COW), porky himself objects to the new addition. “aww, eh-the-there ain’t no such animal!”

indeed there is: porky’s father loads a pile of hay into a chute, pressing down on the cow’s paintbrush tail. the cow pumps along to a brassy score of “old macdonald”, churning out milk from its metal udders, the milk pouring straight into an assembly line of bottles below. bob clampett’s puns are plentiful in this cartoon (notice how there’s no writer’s credit--he often said that he would write some of his earliest cartoons himself. i assume he wrote this one as well? i wonder how much input chuck jones had in the story?), but delivered nonchalantly, so they can actually be enjoyed. the cow caps the milk bottles by putting literal newsboy caps on top of the bottles, the paintbrush tail painting “cream paint” to the outside of the bottles and forming the illusion of cream. interesting business practices!

bobe cannon animates a delightful scene with porky. fun animation and fun dialogue make for a great combo. some very fluid, light, and fun animation of porky giving his pep talk as he hops around, swinging his arms, nonchalantly pushing his hat out of his face after getting so excited. “c’mon, eh-beh-beh-beh-bessie! we won’t let that old eh-neh-nuh-new fangled eh-ceh-co--heifer beat us. you just eat your uh-wuh-wee-weh-whea--eh-ha-hay, and show that eh-teh-eeh-eh-tin-can cow who can make the most...”

porky lowers bessie’s foot from her mouth by climbing on it, preparing to shovel a forkful of hay into her mouth, however, she shoves her foot right back in it, much to porky’s annoyance. “aww, every time you open your muh-mee-muh-me-eh-mou--kisser, ya put your eh-feh-eh-foot in it! eh-bee-bessie, you gotta eat! you eh-deh-dee-eh-don’t wanna be eh-seh-seeah-seeah-smothered in onions, eh-do ya?”

treg brown’s sound effects of doors creaking as her leg is lowered is the perfect touch to the gag. porky struggles to feed bessie, eventually getting stuck in her mouth himself as he attempts to hold both legs down to no avail. he frees himself, just in time to hatch an ingenious idea.

his plan works: porky places the entire pile of hay onto bessie’s legs, who swallows it up whole, her mouth comically huge as she attempts to swallow it. porky is overjoyed, clapping at her efforts before rushing off to give her some privacy.

instead of porky just milking her like a regular farmer, clampett pushes the entire scenario further. porky paces around in the manner of an expectant father, accompanied by a soft score of “lullaby on broadway”. the sound of a baby crying prompts porky to do a gorgeously animated head shake of surprise--bessie hands him a milk bottle, which porky carefully swaddles and places in a basket.

the charade continues, with clampett lulling us into a false sense of security with an already absurd gag. cue a gag that would have been incredibly risque in 1938: at about the fifth bottle, porky reaches out and finds that bessie hands him a bottle labeled “CHOC. MALT”, accompanied by an underscore of “i wish i was in dixie”. porky and bessie both grow bashful, but porky’s nonchalant whistling is cut to a half as bessie delivers yet another bottle. “gosh--eh-ceh-ceh-quin-eh-qui-eh--quart-tuplets!”

porky rushes over to his farther to share the good news. however, dad is too preoccupied with the fancy mechanics of the cow to pay bessie any mind. he shows porky a barrage of dairy-related puns churned out by the creamlined cow:

cottage cheese (cheese in the shapes of houses--and an outhouse for good measure--don the conveyer belt), limburger cheese (cheese slices with clothes pins pinned to their “noses” to ward off the stench), and swiss cheese (a cuckoo bird pops out of the cow’s mechanical side and sprays the cheese wheels with bullets, which turn into yodeling mouths). interestingly, mel’s voice for porky’s father changes in this scene--it’s still him, but the nasally undertones are absent. i wonder if he did this on a different day?

nevertheless, the staging of the next gag is genius. the majority of the screen is black, save for a small window revealing porky holding onto bessie’s udders. “c’mon, eh-beh-bessie! hurry eh... hurry eh... step on it!” the window expands to reveal bessie pouring a bucket of milk into a line of funnels (rather than udders), which are then evenly distributed to the bottles. “’ats a guh-geh-gee-eh-girl!”

mechanical cow seems to be doing just fine, plopping cherries on top of elaborate ice cream sundaes and milk shakes. the only fault in the system is the cow’s own personal whiskey bottle rolling down the assembly line, which it confiscates promptly.

porky, on the other hand, is making do. with an ice block on her head, bessie churns out ice cream cones to the best of her ability. as the cones grow smaller and smaller in size, porky orders her to eat more hay, which she happily does so.

now, it’s cow vs. cow. the mechanical cow opts to play some dirty tricks on bessie, pouring a jar of vanishing cream it produced onto the hay bessie is eating. and, thanks to the law of cartoon physics, the milk bottles she hands porky disappear by the minute. though the effect of the bottles disappearing may not seem like much today, for 1938 the ink and paint department did a wonderful job of demonstrating the illusion that the bottles suddenly disappeared.

with the rest of the hay now gone thanks to a hefty glob of vanishing cream, porky and bessie engage in a wild goose (cow?) chase to find more hay. the mechanical cow gobbles up every square inch of hay in sight--at one point, bessie heaves a dubious shrug to the audience. i love how they made her hooves look like hands, but still remain identifiable hooves. the scramble animation she does as she dashes out of frame (with porky clinging to her like a horse) is wonderfully done as well.

both porky and bessie and the creamlined cow exit the barn, chasing each other around the farm. the mechanical cow physically turns into a vacuum cleaner, threatening to suck up the last remaining pile of hay. in a gag that’s reminiscent of the harman-ising days (is it the inclusion of the outhouse?), the cow-turned-vacuum rushes into a shed filled to the brim with hay. the audience merely watches the shed itself shrink in size as the cow gobbles up all of the hay, the final result a puny little outhouse.

at last, the enemies reach a face-off. the last pile of hay--or, as porky puts it in his punny little way, “eh-thee-the-thee-that’s the last straw.” in a relatively tashlin-esque maneuver, clampett makes some fast cuts to heighten the suspense of the action. cut between porky and bessie to the mechanical cow to the pile of straw (facetiously labeled “MILK WEED”). the cuts grow quicker and quicker, the music crescendo-ing...

until BLAM! in a loose parallel to the finale of rover’s rival, everything explodes at once. nuts and bolts rain in the sky, as do neat little bundles of hay. however, clampett doesn’t allow the audience to rest just yet--with bessie nowhere in sight, the mechanical cow continues to charge forth, seeking refuge in a hay to release a humongous pile of milk bottles. so high, in fact, that the shed (and cow) are elevated several feet into the air. porky’s a goner.

porky’s father, who had been absent for the past few minutes, reappears to declare the tin-can cow a winner, much to porky’s visible dissatisfaction.

yet it’s not a clampett cartoon without a twist! bessie pokes her head out of the mechanical cow’s mouth, mooing the ever popular catchphrase from the ken murray show: “mmmmmmwooooooooooah, yeeeeaaaaaah!” porky gives a celebratory “oh, boy!” as we iris out--the goose and duck from earlier poke their heads into the scene just before the iris fully closes.

this is an early porky cartoon that’s just plain fun. bobe cannon’s animation of porky serves as one of the many highlights, from porky getting aggravated with his phonograph to his excited pep talk towards bessie. corny as the opening number is, it’s a lot of fun at the same time--the intensity in increasing chaos is a prevalent theme to clampett’s cartoons. just look at the climax/ending of baby bottleneck!

i don’t have many complaints towards this cartoon, if any at all. it’s not my favorite porky entry, sure, but it’s most certainly an enjoyable watch and one of his better cartoons of the ‘30s. the visual puns aren’t nearly as hamfisted as ben hardaway’s (as we’ll soon discover), making them more enjoyable than some of the jokes present in, say, daffy duck & egghead. regardless, there are a lot of unique gags, fun animation, and amusing dialogue to constitute a watch.

the cartoon is up on HBOmax, but you can also watch it here!

#lt #looney tunes #porky’s poppa #clampett #reviews #long post

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surveys-at-your-service · 5 years

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Survey #178

“for such a little thing, you sure are in your own way.”

What’s your favorite type of bird? Barn owls are actual deities. What was on the last sandwich you ate? Pb & j. What sort of music did you listen to when you were in high school? Same stuff I listen to now, although I had a mild screamo-ish phase. Have you ever gotten back together with an ex? No. How far away is the closest store to your house and what is it? Some cheap dollar store in the town, dunno names. What is your favorite Thai dish? Haven't tried any. When was the last time you made out with somebody? Over a month back. What month of the year was your mother born? August. Are there any candles in your bedroom, and what scent are they? No. What TV show(s) have you been watching currently? None. How many apps do you have on your phone? Six. My phone has so, so little storage ugh. Have you ever dated a smoker? If not, would you? No to both. Are there any movies you’ve seen so many times? Yeah, sure. Of course a lot as a kid, Finding Nemo and The Lion King 1 & 2 especially, then I've watched both Blair Witch Project movies a lot, Jim Carrey's How the Grinch Stole Christmas... How would you describe your sense of humor? Sarcastic. What’s your favorite type of bread? Pumpernickel. Do you share a middle name with any of your siblings? Yeah. Have there ever been any brushfires/wildfires in your area? Yeah. What did you have to eat for dinner last night? Nothing (Thanksgiving was lunch). Do you have separate emails for personal and business? No. Have you ever missed a flight? Yes. Do you know your significant other’s passwords? No, I have no reason to. Would you like to study abroad one day? No. Does someone have a crush on you but you don’t feel the same way? Idk. Who do you feel most beautiful around? Sara. /v\ What’s one makeup item you cannot live without? I could easily live without any. Is there one thing all of your ex’s had in common? All guys. Did you french kiss before you were 16? No. Imagine your spouse just died; would you get re-married? I don't know if I would. Like... I'd never stop loving her, so "moving on" to someone else just because she's no longer physically here would feel disloyal. What’s your favorite thing about life? New, fun experiences and creating strong bonds with people like you. Who pays for the first date? Idrc, but probably whoever proposed the date? Or split the bill? Have you ever had a friend that got a bf/gf, and then completely ignored you? Yeah. Do you play any computer games, if so, what ones? Not currently 'cuz my gaming laptop has to be fixed. :| When it is and I have my own income, I might return to WoW, but I'm not sure. I think the subscription is kinda high, and I have more important things to handle. What is the funniest movie you’ve ever seen? Idk why I find White Chicks so goddamn funny. What lyric means the most to you? Off the very top of my head, "A bloody war behind my eyes; I'll come all right on the other side" from "Free" by Mother Mother. Really makes me think of all I've been through but how I keep coming out stronger. Who is the smartest person you know? Girt. What’s the next movie you will see in theaters? Idk. Are you adopted? No. What band do you like that most people hate? You canNOT look me in the face and say you don't like at least one Nickelback song. I don't get the hate. Any new bands that you actually enjoy? Oh idk. What is your escape from reality? RPing. Do you have any self-inflicted scars on your arms? You can only just barely see them. Do you like “scene” hair? YEAH AND I ALWAYS FUCKING WANTED IT BUT I COULD NEVER POSE IT CORRECTLY 'CUZ MY HAIR WAS TOO THICK AND HEAVY. Have your parents ever been to jail? No. If your friend asked you to hold their drugs, would you? Definitely not. Does it scare you when a relationship moves too fast? Y E A H Would you ever consider hitchhiking? I don't know if I would even in a desperate situation... I don't trust people. Have you ever hitchhiked? No. Have you ever been to a music festival? No. What color car do you want to have? Burnt orange. Would you rather hike a mountain or explore a cave? Explore a cave!!! Would you rather wear a flower crown or veil? Probably a veil? Do you believe peace on earth is attainable? I honestly don't believe so. What type of tattoo do you want? s o m a n y What is your favorite insect? Butterflies. Would you ever live in the desert? Nooooo. Fuck the heat. Is your town beautiful? I don't really live in one, but the closest town isn't. Which season do you want to get married in? Autumn. Are totem poles cool? YEAH! Favorite art forms? Conceptual photography. What kind of music do you enjoy? Plenty sorts of metal, rock, and alternative. Do you have any gay friends? Yeah. Where is your favorite place to go? The zoo, even though I have mixed feelings about them... Do you know your dad? Yeah. How often do you get on Facebook? At least once a day. Are you related to anyone who’s in prison? Don't think so?? What concerts are you attending in the near future? Y'ALL I MIGHT FUCKING SEE OZZY IN JANUARY. He and Megadeth are coming to Charlotte and the tickets aren't too bad. :') It's a loooong drive but Mom was like "hell yeah" when I told her and wants to buy tickets after she gets her tax return AH. Metallica is a possibility too, but Mom doesn't think she can afford it. If you were kicked out of your house, where would you go first? Dad's. What are you currently looking forward to? Sara's b-day, Christmas, hopefully getting my laptop fixed, aforementioned concerts, and school. What was the reason you got grounded for last? Idk, that was a long time ago. But most likely for "talking back" to Mom. The last two people you kissed, are they virgins? Yes; probably not. Is there a guy that knows everything or mostly everything about you? Yeah. Do you sleep on a certain side of the bed? A bit to the left. If you could have anything delivered to your doorstep each morning, what would it be? Um,,, money?????? What is one vacation destination that many people think is just fabulous but which you personally have no desire to visit (or revisit)? New York City. Heard from my sister it's a shithole with the craziest and rudest people known to Planet Earth. I'm not big on cities, anyway. Which animated character is your all-time favorite? Uhhhhhh... Dory, maybe? If you could own a home on the shore of any body of water in the world, which waterfront would you choose? I WANT THE PINK BEACHES OF THE BAHAMAS. But I'm scared of the Bermuda Triangle so will probably never see them. :'''''') What serves as the greatest motivation for you in your daily life? MY RECOVERY. If I got through what I have, I can't ever give up and roll back down that hill. I'm focusing to always improve. If you could have any round object in the world, what spherical item would you want? t h e g a m e s p h e r e , l a d s If you were left alone for one hour with nothing more than a pen and a notepad, what would you be inclined to draw or write during those 60 minutes? Practice eyes or start a poem. If you could witness anything at all in super-slow motion, what would you want to see? Hmmm... OH, maybe a big cat's tongue licking meat. See how it actually shears tiny bits off. Cats' tongues are cool. What do you forget to do more often than anything else? Take my anxiety med at the right time. If you could teach everyone in the world one skill, what would it be? Compassion. You’ve been offered the chance to paint a billboard along a highway with any message you choose, as long as it’s only 10 words long. What is your message? Oh jeez, I'd have to think too hard on this. Who’s the last guy to give you roses? Tyler. Did your parents do drugs when they were younger? Not to my knowledge, and I doubt they would've. Do you have any relatives who live on a different continent than you? I don't believe so. What are your religious beliefs? Were you raised with those beliefs, or did you develop them on your own? I'm a theist, entailing I believe in a creator, but I know nothing about him/her/it. I personally picture them as a peaceful and sage deity that allows life to go on without it intervening anywhere, letting the world evolve on its own and see how we adapt to our unique settings and handle life. In the end, I believe we are either given some form of paradise or a type of damnation depending on how you wrote your story. I like to imagine the good go to their personal vision of "Heaven," and I wonder if the paranormal activity some experience in life are the acts of the damned, apparently confined to remain on Earth or something. Anyway, I wasn't raised with such beliefs; they were developed. I was brought up Catholic, then I turned to just simple Christianity as I didn't agree with a lot of Catholic ideas, and most recently I abruptly turned away from that in favor of theism. How did you and your significant other celebrate your last anniversary? We went out for breakfast. What has been your favorite house/apartment/etc you’ve ever lived in? My last house for location, as a house itself, my childhood one. What’s something in your house that currently needs to be cleaned? I need to vacuum my room. Do you still remember any of the dreams or nightmares you had as a child? Yup. What’s the most bizarre conspiracy theory you’ve ever heard of? The world is donut-shaped. Yeah. Do you have a good sense of direction? Not. At. All. Who was your first crush? Did you ever actually date them? Dylan, and no. What’s the weirdest, rudest, or most ridiculous thing a guest has ever done in your home? Who knows. Has anyone ever told you you’re manipulative? I don't think so. Do you know anyone who owns their own business? No. When was the last time you weren’t 100% sober? Uhhh maybe that movie night with Colleen and Chelsea. Is obtaining a college degree something that is important to you? Well, for my possible career future. Have you ever eaten at a vegan restaurant? No. Do you view substance abuse as a disease or a choice? I have... mixed feelings here. Starting something, that is indisputably a choice. Becoming addicted though, I'm not sure. Some people have addictive personalities so have a bigger inclination to become addicted, but isn't that just a personal trait/weakness you can fight?? I dunno. I know it's labelled as a disease by people way more informed than me though, so. What does the last text you sent say? Don't feel like checking. Does it bother you when people call you ‘ma'am’ or ‘sir?’ No. I live in the South, that's polite. Have you ever been obsessed with a television character? Does Dory count for movies? ha ha Do you ever wish you had powers of invisibility? Not really. What was the last thing that changed your life completely? Recovery. Do you have any step siblings? One. Have you ever been questioned by the police? No. In which state/country were you born? NC, U.S.A. Have you ever been to an amusement park out of state? Disney World. What do you normally drink when eating at a fast food restaurant? Coke or Mountain Dew. Have the police ever been looking for you? Not because I did something wrong; I've told the beach story a few times. If you chew gum, which kind is your favorite? I love the watermelon Hubba Bubba one asjfawoeu Have you ever kissed someone of the same sex? Yeah. What was the last liquid that you choked on? Water, just this morning when I was taking my meds ah. How many times did you wake up today before actually getting up? Well, I woke up once in the middle of the night like usual, then I woke up at like, 6-something and went back to sleep. Who did you celebrate your last birthday with? Mom, sises, Ash's husband and kids, and Dad stopped by. Was your last kiss initiated by you or the other person? I think it was kinda a simultaneous thing. We were saying bye. Do you buy a ton of things at the store at once or just for that day? Mom does the shopping, but it depends on how much time she has and what's at the house. When getting dressed do you put your pants or shirt on first? Pants. When you kiss a person where do your hands usually go? I actually don't know if it's a consistent thing for me??? I don't kiss anyone regularly so I don't recognize a pattern. What is one song you listen to that you’re sure not many people do? "False Flags," probs. Massive Attack is so neglected of the attention they deserve. Do you use a handrail on stairs if there is one? Yes, I'm scared of tripping. What was the last thing you saw that made you smile? Teddy came right up into my face wanting attention. What is your favorite drinking game? Never played any. Do you have any tattoos that you don’t like anymore? I think I've mentioned why I don't love my "ohana" one now. I'm getting it covered at some point. My "perfectly flawed" one is probably getting covered by a much bigger piece; I picked a bad location for it to want a sleeve. I'd just maybe redesign it, put if somewhere else. Do you have a shower curtain or door? Curtain. Who was the last person from your high school graduating class you saw? Probs Colleen? Who was the last non-relative you hung out with? Sara. Are you listening to anything right now? I'm way too obsessed with "Black Wedding" by In This Moment (feat. Rob Halford). Rob makes it, and the chorus is awesome. How many keys are on your keychain? One. Who was the last person you took a photograph with? Ryder, my nephew. Are you left handed? No. What were you most scared of when you were little? Losing my mom/being separated from her. Are you biracial? No. When was the last time you painted your nails? What color(s)? I couldn't even guess. Has a stranger ever offered to buy you a drink? Thank fuck no. Have you ever overflown a bathtub? Don't think so. What’s at the top of your to-do list in life? Stay positive, never stop aiming to improve. What was the last thing you shared? Well, Thanksgiving food. Where are you most ticklish? Feet. Do not- Which cartoon character do you want to keep as a pet? Uhhhh how 'bout an Espeon. I imagine them to be calm and silently affectionate like cats and very intelligent. Have you ever considered a career in music/acting? No. When was the last time you felt seriously embarrassed? Getting food yesterday. Per usual, let things die down, but I still ended up crammed in a corner, unable to go in any direction while someone was trying to get past me. I was headed for an anxiety attack and felt like a total nuisance. I'm pretty sure it showed in how I was whipping my head around, shuffling in various directions, clearly wanting the fuck out. Have you ever liked a song, looked up the lyrics to it, then hated it? No, lyrics can't ruin a song I like the sound of. What would be the icing on the cake for you this Christmas? A PS4, omg. I have to get my laptop fixed and a new camera, so I highly doubt I'm getting that or a tablet considering cost. I want to play the Spyro Reignited trilogy beyond words, like I refuse to even watch a let's play because I want to experience it all first-hand, but. Yeah, unlikely anytime soon. If you had the opportunity to live forever, would you take it? Noooooo. Do you like quesadillas? Only chicken and/or cheese ones. Did you like the show Invader Zim? I surprisingly never saw it. What’s the greatest/most influential song you’ve ever heard? "Life Won't Wait" by Ozzy always makes me wanna get off my ass and do something. What’s the weirdest thing you’ve ever seen in a grocery store? A HUGE BOX OF ANIMAL HEADS IN THE MIDDLE OF WAL-MART, BECKONING THE FURRIES INTO ITS DEPTHS. Have you ever bought yourself a present on Christmas? No. Well, I've used money I've been given on Christmas, if that counts. Have you ever been on a mechanical bull? No. Do you need a key card to get into the building you live in? No. Have you ever stepped in chewing gum? Yes. Name all the people you know that you’ve seen today. Just Mom.

#survey #quiz #questions #random

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thedivinemisshepburn · 7 years

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Bringing Up Baby - a timeless classic

I can’t give you anything but love, baby

First of all, I’d like to thank Crystal for organizing the Katharine Hepburn-Spencer Tracy blogathon and for letting me write about one of my favorite Katharine Hepburn pictures. ‘Bringing Up Baby’ was actually the first Hepburn picture I ever saw so it will always be special to me.

On May 3, 1938 the Independent Film Journal printed an article by Harry Brandt titled ‘Box Office Poison’. The piece was written on behalf of the Independent Theatre Owners of American and labeled many well-known movie stars of the time as ‘box office poison’, including Katharine Hepburn. A few months earlier, ‘Bringing Up Baby’ had been released and Katharine Hepburn’s fourteenth picture was another failure in a string of flops that had characterized her career over the previous years. Her last big hit had been ‘Alice Adams’, but that had been almost three years ago. When RKO, her film studio at the time, offered her a movie called ‘Mother Carey’s chickens’, she knew that it was time to buy out her contract and move on to greater things. The movie that had been her last one at RKO and that the New York Times had called ‘a farce which you can barely hear above the precisely enunciated patter of Miss Katharine Hepburn and the ominous thread of deliberative gags’ would also move on to greater things.

In 2000, the American Film Institute ranked ‘Bringing Up Baby’ at number 14 in their list of the 100 funniest movies in American cinema. ‘Bringing Up Baby’ is one of the great screwball comedies which feels timeless and is just as funny when you watch it for the 100th time as it was when you first watched it. The magical chemistry between Katharine Hepburn and Cary Grant, the absurd situations in which they find themselves, the song-loving leopard and bone-loving dog, and the great supporting cast - from Miss Swallow to Major Applegate - all helped make this movie the classic that it has become. This is not so much a review – as I can’t really find anything bad to say about it – as an appreciation, a behind-the-scenes look and an incentive to give this movie a chance (if you haven’t already).

Katharine Hepburn, Cary Grant and director Howard Hawks on the set

‘Bringing Up Baby’ is the story of madcap heiress Susan Vance (Katharine Hepburn) and paleontologist David Huxley (Cary Grant) who find themselves drawn to each other, though not in the way you would expect. David only wants two things: to complete his brontosaurus – the last bone he needs is on its way – and to marry his assistant Miss Swallow. That is, until Susan Vance makes a mess of everything. The day before he is supposed to get married, they meet on the golf course. David has an appointment with Mr. Peabody whom he hopes will give one million dollars to the museum where he works. Susan manages to steal his golf ball, his car and his dignity. They keep running into each other, much to David’s dismay. When David finds outs that Mr. Peabody – aka ‘Boopy’ – is a close friend of Susan’s, he asks for her help – that is until he finds himself throwing pebbles at Mr. Peabody’s window in the middle of the night. The next day, Susan calls David because she needs his help. Since he is the only paleontologist she knows, he has to help her bring a leopard (Baby) – which her brother sent her from Brazil – to her country home in Connecticut. David is forced to agree and what follows is a series of absurd events, including leopard hunting in the Connecticut countryside, chasing George (the terrier of Susan’s aunt) who has stolen David’s brontosaurus bone, eventually ending up in prison where everyone involved is suspected of being a member of the ‘Leopard Gang’. The next day, when Susan comes to apologize for everything that happened – she only wanted to keep him near her – she manages to destroy David’s brontosaurus. Even then, David insists that the day he spent with her was the best day of his life.

Shooting on ‘Bringing Up Baby’ began on the 23th of September 1937. It was the second collaboration between Cary Grant and Katharine Hepburn after they had starred together in ‘Sylvia Scarlett’ a few years earlier. Howard Hawks – perhaps now best known for directing two of the Bogart-Bacall pictures - directed the picture. Katharine Hepburn had a hard time at first with the character she was playing – often trying to be ‘too funny’. Howard Hawks asked vaudeville veteran Walter Catlett to coach her and Kate was so impressed with him that she insisted he play Constable Slocum in the picture.

Apparently, the search to find ‘Baby’ the leopard wasn’t easy. One leopard – which was supposed to be tame – attacked a woman who was playing with him and another one was useless after someone thought it would be a good idea to have a puma instead and decided to paint spots on the leopard – which didn’t want to come off after they had changed their minds. Eventually, eight-year-old Nissa was assigned to play Baby. Olga Celeste, the animal’s trainer, was always around with a whip in case of problems. Everyone was afraid of Nissa apart from – you guessed it – Katharine Hepburn. She would put on perfume – Nissa was a pushover for French perfume - to make the animal playful. Everything went fine until Kate put on a skirt lined with little metal pieces and the leopard made a lunge for her back. Luckily, Olga Celeste was around to save the day. Cary Grant never did hit it off with the leopard and a double was used in the scenes where he and Baby were supposed to be together. Once, Katharine Hepburn put a stuffed leopard through a vent in the top of his dressing room. ‘He was out of there like lightning’, she wrote in her autobiography ‘Me’. Of course, the movie stars another animal: George, aunt Elizabeth’s terrier. Skippy, George’s real name, was a big star as far as dogs go. He became famous by playing ‘Asta’ in the ‘Thin Man’ movies and was given the real star treatment (separate dressing rooms, vegetarian diet…). He went on the star in the ‘Awful Truth’ and of course ‘Bringing Up Baby’. At the time, training animals was very important because special effects weren’t yet what they are nowadays.

‘I went gay all of a sudden’ is probably one of the most-quoted lines from this movie. It is uttered by Cary Grant when Susan’s aunt asks him why he is wearing a negligee. Whether or not this use of the word ‘gay’ is the first time in movies that it refers to ‘homosexual’ remains a topic of debate. However, one of the subsequent lines ‘I’m sitting in the middle of 42nd street, waiting for a bus’ might very well indicate it was. At the time, 42nd street was the primary cruising strip for the city’s male prostitutes. Other instances of sexual innuendo are also quite obvious. After all, this is a movie about a man looking for his bone (‘it’s rare, it’s precious’) and a woman looking for her… well, leopard. Luckily for us, the people working at the Hays office didn’t see any problem. The only thing they objected to was showing Susan’s panties when David ripped off the back of her skirt.

For me, ‘Bringing Up Baby’ is the definitive screwball comedy. This genre was popular during the Great Depression until the early 1940s. ‘It Happened One Night’ starring Clark Gable and Claudette Colbert is often cited as the first true screwball comedy. The main elements are: a female lead who challenges or dominates the male lead, fast-paced talking, absurd situations and conflict in social classes. Ironically, these were the elements of the film that were often criticized at the time. I guess it’s safe to say that ‘Bringing Up Baby’ was ahead of its time and fortunately has now been given the praise it so rightly deserves. Over the years, filmmakers have been inspired by the movie and the 1972 film ‘What’s Up, Doc?’ starring Barbra Streisand was even a homage to ‘Bringing Up Baby’.

‘Bringing Up Baby’ will always by one of my favorite Katharine Hepburn pictures. It’s still as fresh and witty 80 years later. I know all the lines by heart and never get tired of watching it. If you haven’t seen it already, give it a chance, you definitely will not regret it. And my, what would I give to be a member of the Leopard gang!

This piece is part of the Spencer Tracy/Katharine Hepburn blogathon hosted by ‘In the Good Old Days of Classic Hollywood’. Be sure to check out all of the amazing contributions here: https://crystalkalyana.wordpress.com/2017/07/20/announcing-the-spencer-tracy-katharine-hepburn-blogathon/

After all, we can never have enough Spencer and Kate in our lives!

#Katharine Hepburn #bringing up baby #blogathon #cary grant #1930s #1938

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victoriaerickanahiposts-blog · 4 years

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Goal 4.4: Items.

Writing activity

The teacher will show the students a picture of an altar, which is a tradition of the day of the dead, and ask them to write a paragraph describing it using the proper vocabulary for it. The description written by the student will include the things that they see in the picture. For the next paragraph, the students have to write about some of the traditions and costumes that they have with their families during a holiday.

Objective: To assess the structure of the student’s writing, for example, whether they are coherent and have cohesion, their spelling, and their usage of the festivity´s vocabulary.

Time: Seven to ten minutes.

Format: Descriptive paragraph.

Listening Activity:

The teacher will play an audio of someone telling the story of their last Halloween, and the students will draw a scenario of how they picture the scene thanks to the descriptions given in that same record.

For the second listening activity, the students will answer to a series of “True or false” questions regarding what they heard in the recording.

Questions:

_____ The party host got scared of Esmeralda’s costume

_____ There was a Jack-o-lantern in the kitchen

_____ Esmeralda left early.

_____ Esmeralda liked the Halloween party.

_____ When Esmeralda left, it was foggy outside.

Objective: To check if the student payed attention to the audio, and to make them get an idea of what is in the image presented in the audio by drawing the details that they understood. After that, using the same audio, they have to answer the questionnaire to verify that they understood the what happened in the audio.

Time: ten minutes.

Format: Drawing a scenario and true or false questions.

Reading activity

The students read a paragraph regarding a Japanese tradition and answer a series of questions regarding that same paragraph.

Questions:

1. What does Tanabata mean?

2. What other name does that festival receive?

3. What are the origins of this tradition?

4. What is the names of the two stars?

5. What do they use to decorate the Star Festival?

6. How do they celebrate this tradition in kindergarten?

Paragraph:

Tanabata (star festival) is one of the Japanese annual festivals, Tanabata, or Star Festival, literally means the night of July 7. Its origin goes back to the old Chinese legend involving two stars, the Weaver Star and the Cowherd star, and later the story merged with Japanese traditional beliefs. Being separated by the Milky Way, the two stars were only able to see each other once a year, on the night of July 7. By the Star Festival night, bamboo branches are decorated with ‘Tanzaku,’ or strips of paper, on which people write their wishes. Origami works and other colorful decorations are also tied to the bamboo. In kindergarten, a ‘Star Festival party’ is organized in which a teacher reads a picture book or uses a picture-story show to talk about the Star Festival legend, and children participate in a drama or dance based on the legend and sing and play musical instruments along with the festival song.

Objective: To check the student’s reading comprehension by asking them to answer a questionnaire of a reading given by the teacher.

Time: Seven minutes.

Format: Questionnaire.

Speaking activity

The teacher interviews the students one by one, asking series of questions regarding holidays, when the student answers, the teacher checks fluency, accuracy, and the student's ability to maintain a coherent conversation while giving their opinions in order to be understood.

Questions:

1. What do you know about Valentine’s Day?

2. What is your favorite holiday?

3. What is, in your opinion, the most boring holiday? Why?

4. What is the funniest anecdote you have about holidays?

5. Do you celebrate Christmas? Why?

6. How do you usually celebrate your birthday?

Objective: To check the student’s fluency, accuracy, and ability to maintain a coherent conversation.

Time: fifteen minutes.

Format: interview.

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reviverradio · 7 years

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‘Fargo’ Uses Pop Songs Better Than Any Show On Video

FX / Warner Bros..

As prestige TV proceeds to ape the conventions of theatre, a growing number of TV shows have stepped up their match once it comes to a device near and dear to my own heart — with pop music. Many of the Very Best and most talked-about displays on television do this very well: The Americans, Big Little Lies, Better Call Saul, Mr. Robot, Legion,Halt & Catch Fire. But there is one series that really does it a bit better than the rest, FX’s Fargo.

Filmmakers and showrunners utilize pop songs. The most basic objective is to immediately set a time interval — Duran Duran for its ’80s, CCR for those ’60s, Donna Summer for the ’70s, Nirvana for its ’90s, and so forth. Considerate artistswill really incorporate the audio as either a Greek chorus signaling themes that are significant or simply as a window to the lives of the characters. Or they’ll revel in the possibilities which arise when you choose a part of activity and mix it with a tune, which can elevate an otherwise flat sequence to the dizzying heights of a dance number.

Fargo, notably in its second season, has escalated in using tunes as storytelling devices, in addition to finding ways to create musical sequences that looked and sounded unbelievable on-screen. Throughout the show’ forthcoming season, I’ll be writing weekly columns dedicated to the way Fargo employs music in each episode, exploring the ways that tunes deepen (or perhaps detract from) the storyline. (I’ll also inquire into the obscure tracks which will inevitably pop up on the soundtrack, for people without ready access to Shazam.) Before that, here are five good moments from the first two seasons.

Season 1, Episode 2: Eden Ahbez, “Full Moon” Scene: Mr. Numbers and Mr. Wrench get rid of a body in an ice-covered lake.

Fargo did not really hit its stride for a series that cinematic scenes to pop music in distinctive ways until its next season. However, this incident from early in season one shows Fargo‘s flair for digging up obscure tunes and doing something subversive together. Ahbez is a cult figure who achieved his greatest triumph in 1948 when his song “Nature Boy” has been conducted by Nat King Cole, who flipped it into a No. 1 hit. “Nature Boy” was reflective of Ahbez’s proto-hippie life — he wore his hair long and grew up a Jesus beard to choose his normal garb of sandals and white robes. (Ahbez was also living beneath the “L” at the Hollywood sign all over the time which “Nature Boy” became a hit.) On his own, Ahbez recorded profoundly strange, ethereal music including his starry-eyed, spoken-word vocals, as typified by the strangely hypnotic “Full Moon.”

On paper, “Paper Moon” shouldn’t go with a spectacle where a guy his killed by two hit men. But much like the Billy Batts sequence in Goodfellas, which uses Donovan’s similarly hippie-dippy “Atlantis” while Robert De Niro and Joe Pesci celebration Frank Marino’s head in, the mix of violence and serene audio functions in a yin-yang sort of manner, conveying the pathology of people that commit horrible acts with cool efficiency.

Season 1, Episode 9: “Green Tambourine” by the Lemon Pipers

Scene: Super-criminal Lorne Malvo, posing as a dentist at Kansas City, hosts a party at his home.

“Green Tambourine,” a likably trashy bubblegum oldie which went to No. 1 in 1967 and has been the only real hit by ersatz-psych group the Lemon Pipers, could typically be an unusual choice to score a celebration scene that happens in 2007. But it’s perfectly suited for Fargo, that informs stories which take space during hyper-specific periods of time which also somehow appear to exist slightly out of time.

Lorne Malvo, particularly, seems like he could be a commodity of every year between 1989 and 1961. It is a part of the character’s life, “there really are no rules” influence on the entire world around him, represented in a small way by reviving the outdated “Green Tambourine” at a scene which takes place 40 years following the song’s original cultural instant. For Malvo, “Green Tambourine” represents normalcy and mediocrity — it’s his way of appearing like a regular individual while slyly commenting on how boring he thinks ordinary folks are.

Season 2, Episode 1: “Children Of The Sun” with Billy Thorpe

Scene: Rye Gerhardt pushes to face a quote in a diner.

In an interview with The A.V. Club, Fargo music supervisor Marguerite Phillips explained that the series’s creator Noah Hawley “wanted me to research prog rock and Krautrock” as a musical motif for the next season. Though I prefer to believe that it’s also regarding the pervasiveness of AOR this could be related to the year’s sci-fi overtones. (As a native midwesterner born in 1977, a number of my earliest memories have been scored by pomp-rock riffs and ridiculously wiggy keyboard solos.)

Apparently, Billy Thorpe’s anthemic “Children Of The Sun” was among those very few songs ever written to the script of the second-season premiere. While mostly forgotten now, Thorpe did exist around the periphery of FM radio from the late night ’70s, that gave him sufficient exposure for the Australian rocker’s 1979 concept listing Kids Of The Sun to hit the top 40 in the album chart. In addition to subtly foreshadowing the preponderance of UFOs at Fargo‘s sophomore year, “Children Of The Sun” seems like the sort of song you’d hear in the radio late at night whilst riding shotgun on a lonely street road near the edge of Minnesota and North Dakota in 1979.

Season 2, Episode 7: Lisa Hannigan, “Danny Boy”

Scene: Bear Gerhardt implements his niece, Simone

The biggest hurdle for Fargo the TV series has been overcoming comparisons to Fargo the film. A show that was confident would have worked to play down the Coens’ influence. However, Fargo has rather embraced not only its cinematic supply material but the entire Coen brothers oeuvre, though in a manner that’s more reminiscent of an inventive remix than a slavish cover. In the next season, this interpreted musically by having modern artists perform versions of classic tunes related to Coen brothers movies, such as Blitzen Trapper’s shoot the normal “I’m A Man Of Constant Sorrow” (out of O Brother Where Art Thou) and White Denim’s redux of Kenny Rogers and The First Edition’s “Just Dropped In (To See What Condition My Condition Is In)” (in The Big Lebowski).

In the case of “Danny Boy,” which initially uttered the remarkable shoot-out series from Miller’s Crossing, the Irish singer-songwriter Lisa Hannigan was called on to execute a distinctively lovely rendition for arguably the most funniest scene at either season of Fargo. For a callback to the Coens, “Danny Boy” stands alone as a memorable audio queue on Fargo. It might, in fact, even top Miller’s Crossing, where the use of “Danny Boy” enrolls as marginally jokey. But on Fargo, the song’s sentimental depiction of familial love and the death of generations gets the death of Simone doubly awful.

Season 2, Episode 10: Black Sabbath, “War Pigs”

Scene: Everything goes to hell in Sioux Falls.

Here we’ve got a tune that strikes on every one of the bases for tune usage that is good. It’s a strong personality option for Hanzee — that I could easily imagine him listening to Paranoid non-stop whilst serving several tours in Vietnam. It comments on the activity. It will help to set the time and place — nothing epitomized evil in communities at the ’70s and ’80s including Black Sabbath, whose music and iconography served as shorthand for the mania from Satan worshippers that are mostly non-existentent.

But place of the and re-watch the sequence another 37 times. There’s something to be said for having a song because it seems incredible when juxtaposed against terrifying action that’s unfolding on a split screen. Much like the Scorsese-esque “Locomotive Breath” chain in the next season’s seventh episode, “War Pigs” gets over on sheer cinematic audacity. It looks cool since it looks freaking cool.

from reviverradio http://www.reviverradio.net/fargo-uses-pop-songs-better-than-any-show-on-video/

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blackkudos · 7 years

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Bert Williams

Bert Williams (November 12, 1874 – March 4, 1922) was a Bahamian American and was one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He was by far the best-selling black recording artist before 1920. In 1918, the

New York Dramatic Mirror

called Williams "one of the great comedians of the world."

Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his long career. Fellow vaudevillian W.C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw – and the saddest man I ever knew."

Early life

Williams was born in Nassau, The Bahamas, on November 12, 1874, to Frederick Williams Jr. and his wife Julia. At the age of 11, Bert permanently emigrated with his parents, moving to Florida. The family later moved to Riverside, California, where he graduated from Riverside High School. In 1893, while still a teenager, he joined different West Coast minstrel shows, including Martin and Selig's Mastodon Minstrels, where he first met his future professional partner, George Walker.

He and Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. However, they soon discovered that they got a better reaction by switching roles. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business." A New York Times reviewer wrote: "He holds a face for minutes at a time, seemingly, and when he alters it, bring[s] a laugh by the least movement."

In late 1896, the pair were added to The Gold Bug, a struggling musical. The show did not survive, but Williams & Walker got good reviews, and were able to secure higher profile bookings. They headlined the Koster and Bial's vaudeville house for 36 weeks in 1896-97, where their spirited version of the cakewalk helped popularize the dance. The pair performed in burnt-cork blackface, as was customary at the time, billing themselves as "Two Real Coons" to distinguish their act from the many white minstrels also performing in blackface. Williams also made his first recordings in 1896, but none are known to survive.

While playing off the "coon" formula, Williams & Walker's act and demeanor subtly undermined it as well. Camille Forbes wrote, "They called into question the possible realness of blackface performers who only emphasized their artificiality by recourse to burnt cork; after all, Williams did not really need the burnt cork to be black." Terry Waldo also noted the layered irony in their cakewalk routine, which presented them as mainstream blacks performing a dance in a way that lampooned whites who'd mocked a black dance that originally satirized plantation whites' ostentatiously fussy mannerisms. The pair also made sure to present themselves as immaculately groomed and classily dressed in their publicity photos, which were used for advertising and on the covers of sheet music promoting their songs. In this way, they drew a contrast between their real-life comportment and the comical characters they portrayed onstage. However, this aspect of their act was ambiguous enough that some black newspapers still criticized the duo for failing to uplift the dignity of their race.

In 1899, Bert surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow eight years Bert's senior. Thus, the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple and the union lasted until his death. The Williamses never had children biologically, but they adopted three of Lottie's nieces and frequently sheltered orphans and foster children in their homes.

Sons of Ham and In Dahomey

The following month, Williams & Walker had their greatest success to date with Sons of Ham, a broad farce that was perhaps most notable for its lack of the extreme "darkie" stereotypes which were then common. One of the show's songs, "Miss Hannah from Savannah," even touched upon class divisions within the black community. The pair had already begun to transition away from racial minstrel conventions to a more human style of comedy. In 1901, they recorded 13 discs for the Victor Talking Machine Company. Some of these, such as "The Phrenologist Coon," were standard blackface material, but the financial lament "When It's All Going Out and Nothing Coming In" was race-blind, and became one of Williams' best-known songs. Another Williams composition, "Good Morning Carrie", was covered by many artists, becoming one of the biggest hits of 1901. These discs existed only in pressings of fewer than 1,000, and were not heard by very many listeners. Sons of Ham ran for two years.

In September 1902, Williams & Walker debuted their next vehicle, In Dahomey, which was an even bigger hit. In 1903 the production, with music by Will Marion Cook and lyrics by Paul Laurence Dunbar moved to New York City, where it became the first black musical to open on Broadway. Part of the inspiration for the show was Williams' copy of a 1670 book, Africa, in which author John Ogilby traced the history of the continent's tribes and peoples. "With this volume, I could prove that every Pullman porter is the descendant of a king," said Williams.

This was a landmark event, but seating inside the theater was segregated. One of the musical's songs, "I'm a Jonah Man," helped codify Williams' hard-luck persona and tales of woe. It helped to establish the character Williams played most frequently in his career: the slow-talking, deep-thinking victim of life's misfortunes. "Even if it rained soup," Williams later explained, "[my character] would be found with a fork in his hand and no spoon in sight." However, Williams and Walker were ebullient about their Broadway breakthrough, which came years after they had established themselves as profitable stage stars. Williams wrote, "We'd get near enough to hear the Broadway audiences applaud sometimes, but it was some one else they were applauding. I used to be tempted to beg for a $15 job in a chorus just for one week so as to be able to say I'd been on Broadway once." Walker recalled, "Some years ago we were doing a dance before an east side audience. They gave us a hand, and I called out to them, "Some day we'll do this dance on Broadway!" Then they gave us the laugh. Just the same we gave Broadway that same dance."

In Dahomey then traveled to London, where it was enthusiastically received. A command performance was given at Buckingham Palace in June 1903. The show's British tour continued through June 1904. In May, Williams and Walker were both initiated into the Edinburgh Lodge of the Freemasons; the Scottish Masons did not racially discriminate as the United States chapters did, including the northern states.

Abyssinia and recording success

The duo's international success established them as the most visible black performers in the world. They hoped to parlay this renown into a new, more elaborate and costly stage production, to be shown in the top-flight theaters. Williams and Walker's management team balked at the expense of this project, then sued the pair to prevent them from securing outside investors or representation. Filings in the suit revealed that each member of the team had earned approximately $120,000 from 1902 to 1904, or well over $3 million apiece in 2012 dollars. The lawsuit was unsuccessful, and Williams and Walker accepted an offer from Hammerstein's Victoria Theatre, the premiere vaudeville house in New York. A white Southern monologuist objected to the integrated bill, but the show went ahead with Williams and Walker and without the objector.

While the show was praised, many white critics were uncomfortable or uncertain about its cast's ambitions. One critic declared that audiences "do not care to see their own ways copied when they can have the real thing better done by white people," while the New York Evening Post thought the score "is at times too elaborate for them and a return to the plantation melodies would be a great improvement upon the 'grand opera' type, for which they are not suited either by temperament or by education." The Chicago Tribuneremarked, disapprovingly, "there is hardly a trace of negroism in the play." George Walker was unbowed, telling the Toledo Bee, "It's all rot, this slapstick bandanna handkerchief bladder in the face act, with which negro acting is associated. It ought to die out and we are trying to kill it." Though the flashier Walker rarely had qualms about opposing the racial prejudice and limitations of the day, the more introspective and brooding Williams internalized his feelings.

Williams committed many of Abyssinia's songs to disc and cylinder. One of them, "Nobody", became his signature theme, and the song he is best remembered for today. It is a doleful and ironic composition, replete with his dry observational wit, and is perfectly complemented by Williams' intimate, half-spoken singing style.

When life seems full of clouds and rain,

And I am filled with naught but pain,

Who soothes my thumping, bumping brain?

[pause]

Nobody.

When winter comes with snow and sleet,

And me with hunger and cold feet,

Who says, "Here's two bits, go and eat"?

[pause]

Nobody.

I ain't never done nothin' to Nobody.

I ain't never got nothin' from Nobody, no time.

And, until I get somethin' from somebody sometime,

I don't intend to do nothin' for Nobody, no time.

Williams became so identified with the song that he was obliged to sing it in almost every appearance for the rest of his life. He considered its success both blessing and curse: "Before I got through with 'Nobody,' I could have wished that both the author of the words and the assembler of the tune had been strangled or drowned.... 'Nobody' was a particularly hard song to replace." "Nobody" remained active in Columbia's sales catalogue into the 1930s, and the musicologist Tim Brooks estimates that it sold between 100,000 and 150,000 copies, a phenomenally high amount for the era.

Williams' langorous, drawling delivery would become the primary selling point of several similarly structured Williams recordings, such as "Constantly" and "I'm Neutral." Williams even recorded two compositions entitled "Somebody" and "Everybody." His style was inimitable. In an era when the most popular songs were simultaneously promoted by several artists (for example, "Over There" was a top-10 hit for six different acts in 1917-18), Williams' repertoire was left comparatively untouched by competing singers. Describing his character's style and the appeal it had with audiences, he said, "When he talks to you it is as if he has a secret to confide that concerns just you two."

Williams and Walker were prominent success stories for the black community, and they received both extensive press coverage and frequent admonitions to properly "represent the race." Leading black newspapers mounted campaigns against demeaning stereotypes such as the word "coon." Williams & Walker were sympathetic, but also had their careers to consider, where they performed before many white audiences. The balancing act between their audience's expectations and their artistic impulses was tricky.

In his only known essay, Williams wrote:

"People sometimes ask me if I would not give anything to be white. I answer ... most emphatically, "No." How do I know what I might be if I were a white man? I might be a sandhog, burrowing away and losing my health for $8 a day. I might be a streetcar conductor at $12 or $15 a week. There is many a white man less fortunate and less well-equipped than I am. In fact, I have never been able to discover that there was anything disgraceful in being a colored man. But I have often found it inconvenient ... in America."

Bandanna Land

In 1908, while starring in the successful Broadway production Bandanna Land, Williams & Walker were asked to appear at a charity benefit by George M. Cohan. Walter C. Kelly, a prominent monologist, protested and encouraged the other acts to withdraw from the show rather than appear alongside black performers. But only two of the acts joined Kelly's boycott.

Bandanna Land continued the duo's series of hits, and introduced a tour de force sketch that Williams made famous: his pantomime poker game. In total silence, Williams acted out a hand of poker, with only his facial expressions and body language conveying the dealer's up-and-down emotions as he considered his hand, reacted to the unseen actions of his invisible opponents, and weighed the pros and cons of raising or calling the bet. It later became a standard routine in his solo stage act, and was recorded on film by Biograph Studios in 1916.

Solo career

After 16 years as half of a duo, Williams needed to reestablish himself as a solo act. In May 1909 he returned to Hammerstein's Victoria Theater and the high-class vaudeville circuit. His new act consisted of several songs, comic monologues in dialect, and a concluding dance. He received top billing and a high salary, but "the White Rats," an organization of vaudevillians opposed to encroachments from blacks and women, intimidated the theater managers into reducing Williams' billing. The brash Walker would have resisted such an insult to his star status, but the more reserved Williams did not protest. Allies were few; big-time vaudeville managers were fearful of attracting a disproportionate number of black audience members and thus allowed only one black act per bill. Due to his skin, Williams typically travelled, ate and lodged separately from the rest of his fellow performers, increasing his sense of isolation following the loss of Walker.

Williams next starred as Mr. Lode of Koal, a farce about a kidnapped king that was well received by critics as a star vehicle though not a fully realized storyline. Camille Forbes' Introducing Bert Williams collects several reviews with competing race-based agendas. Many of the white reviewers praised Williams' "apparent spontaneous," "unpremeditated" humor, as if he were a guileless simpleton in no control of his own performance. A Chicago critic wrote, "They are racial, those hands and feet," while a Boston reviewer felt that the show's flimsiness and lack of structure were actually attributes because "when we succumb to the surreptitious desire for the broad tang of "nigger" humor, we want no disturbing atom of intelligence busy-bodying about." Meanwhile, many black reviewers ignored the show's faults, praising Williams' continued persistence and prominence as much if not more than his actual performance; an Indianapolis reviewer thought the play was evidence that "we are nearing the day of better things." Despite the good if loaded notices, Mr. Lode of Koal played a secondary string of theaters and was a box office flop.

Following the show's abbreviated run, Williams returned to the vaudeville circuit, and "the White Rats" renewed their opposition to his featured status. The Victoria Theater responded by cutting Williams to secondary billing, but putting his name on the marquee in lettering twice as large as that of the nominal headliner. Newspapers took note of the disingenuous manner in which the White Rats' demands had been met, as well as the way in which many of those performers who were impeding his career would rush to the front of the theater whenever his turn to perform came up.

Ziegfeld Follies

After Mr. Lode skidded to a halt, Williams accepted an unprecedented offer to join Flo Ziegfeld's Follies. The idea of a black-featured performer amid an otherwise all-white show was a shock in 1910. Williams' initial reception was cool, and several cast members delivered an ultimatum to Ziegfeld that Williams be fired. Ziegfeld held firm, saying: "I can replace every one of you, except [Williams]." The show's writers were slow to devise material for him to perform, forcing Williams to repeat much of his vaudeville act. But by the time the show finally debuted in June, Williams was a sensation. In addition to his usual material, Williams appeared in a boxing sketch playing off the racially charged "Great White Hope" heavyweight bout that had just taken place between Jack Johnson and James J. Jeffries. Reviews were uniformly positive for Williams, and also for Fanny Brice, who was making her Broadway debut.

Following his success, Williams signed an exclusive contract with Columbia Records, and recorded four of the show's songs. His elevated status was signaled not just by the generous terms of the contract, but by the tenor of Columbia's promotion, which dropped much of the previous "coon harmony"-type sales patter and began touting Williams' "inimitable art" and "direct appeal to the intelligence." As Brooks wrote: "Williams had become a star who transcended race, to the extent that was possible in 1910." All four songs sold well, and one of them, "Play That Barbershop Chord", became a substantial hit.

Few stage performers were recording regularly in 1910, in some cases because their onstage styles did not translate to the limited technical media. But Williams' low-key natural delivery was ideal for discs of the time, and his personality was warm and funny.

Williams returned for the 1911 edition of the Ziegfeld Follies, teaming up in some sketches with the comedian Leon Errol to ecstatic effect. The best-received sketch featured Errol as a tourist, and Williams as a porter using a mountaineer's rope to lead him across dangerously high girders in the then-unfinished Grand Central Station. Errol's fast-taking persona and frenetic physical comedy gave Williams his first effective onstage foil since Walker's retirement. Williams and Errol wrote the sketch themselves, turning it into a 20-minute centerpiece of the show after the Follies writers had originally given Williams but a single two-word line of dialogue. Williams also reprised his poker routine, and popularized a song called "Woodman, Spare That Tree."

The team of Williams, who was black, with the white Leon Errol was a groundbreaking pairing that had never been seen before on the Broadway stage. Also notable was the relative equality of the duo in their sketches, with Williams delivering most of the punchlines and generally getting the better of Errol. At the conclusion of their Grand Central Station routine, Errol offered Williams a mere 5-cent tip, to which the aggrieved Williams deliberately loosened Errol's supporting rope, sending him plunging from the high girder. Then, a construction explosion below sent Errol shooting into the sky, unseen by the audience, while Williams laconically described his trajectory: "There he goes. Now he's near the Metropolitan Tower. If he can only grab that little gold knob on top... uh... um... he muffed it." After Williams' death a decade later, Errol was the only white pallbearer at his funeral.

Williams continued as the featured star of the Follies, signing a three-year contract that paid him an annual salary of $62,400, equivalent to $1.5 million today. By his third stint, Williams' status was such that he was allowed to be onstage at the same time as white women—a significant concession in 1912—and started to interact with more of the show's principals.

In January 1913, he recorded several more sides for Columbia, including a new version of "Nobody," the 1906 copies having long since become scarce. All of the releases remained in Columbia's catalog for years. He continued to make several more recording dates for Columbia, though he stopped writing his own songs by 1915. He also began making film appearances, though most have been lost. One of them, A Natural Born Gambler, shows his pantomime poker sketch, and is the best-known footage of Williams available. Part of an abandoned Williams comedy film, Lime Kiln Field Day, was found in the collection of the Museum of Modern Art and restored for its first screening in October 2014. The film featured an all-black cast, and the recovered footage included cast and crew interactions between scenes.

Williams did not appear in the Ziegfeld Follies of 1913, instead taking part in an all-black revue of The Frogs, a Negro theatrical organization that had been founded in 1908 by George Walker. For many of his black fans, this was the first time to see Williams onstage since before he joined the Follies. Following the Frogs tour, Williams set out again on the vaudeville circuit, where he was the highest-paid black performer in history.

Back in the Follies fold for 1914, Williams was reunited with Leon Errol for a more absurd version of their girder sketch, this time set on the 1,313th floor of a skyscraper. But as the annual production became more lavish, more crowded with talent, and more devoted to the parade of "Ziegfeld Girls," Williams and other performers were given less stage time, and less attention from the show's writers. This trend continued in the 1915 edition. W.C. Fields made his Follies debut in 1915, and endured the same treatment when the writers cut his scene down rather than enhancing it. Eventually, left alone on an empty stage with a pool table, the comedian responded by creating his famed "pool shark" routine. In 1916, the writers gave Williams a takeoff of Othello to play, but by most accounts neither the material nor his performance was up to his usual standard.

The 1917 installment of Ziegfeld's Follies featured a rich array of talent, including Williams, W. C. Fields, Fanny Brice, Will Rogers (who had debuted in 1916), and newcomer Eddie Cantor. Williams and Cantor did scenes together, and struck up a close friendship. In 1918, Williams went on a hiatus from the Follies, citing the show's difficulty in providing him with quality parts and sketches. Within a month, he was performing in another Ziegfeld production, the secondary Midnight Frolic. By all accounts, Williams thrived in the smaller setting, in which he had the stage time he needed for his routines. He returned to the Follies of 1919, but once again was saddled with sub-par material, including a supporting part in a minstrel show segment.

Between 1918 and 1921, he recorded several records in the guise of "Elder Eatmore", an unscrupulous preacher, as well as songs dealing with Prohibition, such as "Everybody Wants a Key to My Cellar", "Save a Little Dram for Me", "Ten Little Bottles", and the smash hit, "The Moon Shines on the Moonshine". By this point, Williams' records were taking up a full page in Columbia's catalog, and they were among the strongest-selling songs of the age. At a time when 10,000 sales was considered a very successful major label release, Williams had four songs that shipped between 180,000 and 250,000 copies in 1920 alone. Williams, along with Al Jolson and Nora Bayes, was one of the three most highly paid recording artists in the world.

Despite continuous success, Williams' position was tenuous in other ways. When Actors Equity went on strike in August 1919, the entire Follies cast walked out, except for Williams, who showed up to work to find an empty theater; he had not been told about the strike. "I don't belong to either side," he told W. C. Fields. "Nobody wants me".

Williams continued to face institutional racism, but due to his success and popularity, he was in a better position to deal with it. On one occasion, when he attempted to buy a drink at the bar of New York's elegant Hotel Astor, the white bartender tried to chase Williams away by telling him that he would be charged $50. Williams' response was to produce a thick roll of hundred dollar bills out of his pocket; placing the wad on the bar, he ordered a round for everyone in the room. He told a reporter, "They say it is a matter of race prejudice. But if it were prejudice a baby would have it, and you will never find it in a baby... I have notice that this "race prejudice" is not to be found in people who are sure enough of their position to defy it." In a letter to a friend, Williams described some of the segregation and abuse he'd experienced, adding, "When ultimate changes come... I wonder if the new human beings will believe such persons as I am writing you about actually lived?" Even so, in 1914, a perceptive critic for the Chicago Defender wrote, "Every time I see Mr. Bert Williams, the 'distinguished colored comedian', I wonder if he is not the patient repository of a secret sadness... Sorrow concealed, 'like an oven stopped', must burn his heart to cinders."

Late career and death

On February 27, 1922, Williams collapsed during a performance in Detroit, Michigan, which the audience initially thought was a comic bit. Helped to his dressing room, Williams quipped, "That's a nice way to die. They was laughing when I made my last exit." He returned to New York, but his health worsened. He died on March 4, at the age of 47. Few had suspected that he was sick, and news of his death came as a public shock. More than 5,000 fans filed past his casket, and thousands more were turned away. A private service was held at the Masonic Lodge in Manhattan, where Williams broke his last barrier. He was the first black American to be so honored by the all-white Grand Lodge. When the Masons opened their doors for a public service, nearly 2,000 mourners of both races were admitted. Williams was buried in Woodlawn Cemetery in The Bronx, New York City.

Legacy

Phil Harris was apparently quite a fan of Williams, since he recorded "Nobody" and "Woodman, Woodman, Spare That Tree" in late 1936 and early 1937, both big hits of Williams.

In 1940, Duke Ellington composed and recorded "A Portrait of Bert Williams," a subtly crafted tribute. In 1978, in a memorable turn on a Boston Pops TV special, Ben Vereen performed a tribute to Williams, complete with appropriate makeup and attire, and reprising Williams' high-kick dance steps, to such classic vaudeville standards as "Waitin' for the Robert E. Lee".

In World War II, the United States liberty ship SS Bert Williams was named in his honor.

The 1980 Broadway musical Tintypes featured "I'm a Jonah Man", a song first popularized by Williams in 1903.

Johnny Cash covered William's song "Nobody" on his album American III: Solitary Man released in 2000.

In 1996, Bert Williams was inducted into the International Clown Hall of Fame.

The Archeophone label has collected and released all of Williams' extant recordings on three CDs.

Dancing in the Dark (2005) by Caryl Phillips is a novelization of the life of Bert Williams.

Wikipedia

#Bert Williams

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thomasroach · 5 years

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The Darkside Detective Review: Occult fun for All Ages

The post The Darkside Detective Review: Occult fun for All Ages appeared first on Fextralife.

The following post is this author’s opinion and does not reflect the thoughts and feelings of Fextralife as a whole nor the individual content creators associated with the site. Any link that goes outside of Fextralife are owned by their respective authors.

This started out as just a Steam review but I wanted to post due to the fact I enjoyed the game so much. But after the second paragraph, just after finding out that the Devs are releasing Season 2 in the coming year after a successful kickstarter, I realized that this is a game I want as many people as I can tell to know about. Just adding another positive rating to the already existent mass of them would be as helpful as getting a windmill to spin by blowing on it. So let’s do a full review, published courtesy of Fextralife so I can waste your time tell you about a pixel styled, point and click adventure game, so you can waste spend your money on it.

The Darkside Detective Review: Occult fun for All Ages

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Genre: Adventure/Point & Click Developed by: Spooky Doorway Published by: Spooky Doorway Release Date: July 27th, 2017 Platforms: Nintendo Switch, PC via Steam (Review Platform), Mac, Linux, Windows Price at the time of the review: $12.99

This is probably one of the funniest adventure games I’ve ever played and has got me back into occult fiction and fantasy. This is a mix of Ghost Busters and the X-Files, added with two thirds of the three stooges. It’s silly, spooky, laugh out loud fun and deserving of more investment, and no I am not a member of the dev team or affiliated with them in any way, but yes you should give them lots of money. If you have little to no interest in occult fantasy, buddy cop comedies, pixel graphics, or point-and-click adventure games, then I’m sorry to say you have lost approximately fifty seconds of your life reading the introduction to the review of a game you probably won’t want to get anyway. If you do, then let’s begin.

Story & Setting

The Darkside Detective tells the story, or rather many stories by Francis McQueeen, a seeker of the occult and eldritch as well as an investigator of all things paranormal and supernatural. Teamed with his goofy cop sidekick, Officer Dooley, Detective McQueen investigates multiple cases dealing with some form of ghostly apparition, crazed cultist, demonic entity, or cryptic creature. Despite its many horror themes and monsters, this game is a satire through and through, making fun of everything horror B-movies have tried to scare audiences with. It’s filled with parodies of various popular horror flicks and myths.

The satire, however, is really only a small facet of the comedic hilarity, as The Darkside Detective excels with its writing of ridiculous characters, situations, with plenty of jokes and jabs, that revolve around what is terrorizing New Yor-I mean Twin Lakes at the time being. Twin Lakes is a city rife with crazy paranormal encounters, and equally crazy (if not more so) people to deal with. Its a bevy of kooks and weirdos who range from a pyromaniac eight-year-olds, a paranoid anti-government sea monster, An occultist train engineer, a rival detective so douchy he literally takes candy from babies (then fines the baby for crying about it) and more.

It’s just…a mess, a beautiful mess of madness that makes progressing through each story a treat, with dialogue so funny that I want to interact with every possible thing just to hear it all, and everything seeming to have some kind of oddity or quirk just to make it all that much stranger. I could go into further detail on each individual story, but honestly the best experience with this game, is going in blind. Truly it’s the storytelling and writing that makes this game fantastic, as it seems to be for the most part of these classic adventure games.

If my mother had that much storage space in her closet, she’d still run out of room by the end of the month.

It’s the major selling point, and what I most loved about The Darkside Detective. I wish I could say more, but unlike thoroughly explaining gameplay, visuals, audio, and all other more technical components of a game, story and humor are some things you can’t go into full detail without spoiling the plot, or weakening the experience compared to a first time playthrough. Again, if you enjoy buddy cop comedies, Ghostbusters, and horror movie satire, this is a sure thing, heck, even if you don’t like point-and-clicks, I would still say get a guide and play through it like that, cause the humor is top notch. Simple at times, witty at others, but splendid all around. Not every joke was equally funny, but there wasn’t a single one that didn’t at least put a smile on my face.

Audio & Visuals

Simplistic, is one word I could use to sum up the pixel art style and colorful is another. Blocky, square, and geometrically appealing are a few more. “The Darkside Detective’s pixel graphic style lends a nostalgic return to classic point and clicks of old, that is reminiscent of titles such as Monkey Island and Dark Mansion” is a pretentious sentence I could also use to describe the art style. However, when it comes to pixel art, there only three things I, and likely what most people care about.

There are no words to describe how I feel about this.

Does it look nice? Can you tell what’s going on and what’s what? And will it possibly give me an epileptic seizure? To all these questions I can pretty much answer yes, yes and you may want to consult your doctor about that. Really though, given the decades of practice game development has had in 2D pixel art, I think it should be the basic standard for any pixel game to look “nice”, decent at least, and The Darkside Detective has certainly accomplished that.

Though simplistic to the point of not having facial features for most characters outside of facial hair, and hardly any dynamic animations, the game looks vibrantly colourful, and is especially beautiful at certain points in the story. It’s…like a child’s drawing actually, made into pixel form. Lots of strong, crayon colors, simple details, and some cartoonishly designed characters. which is quite fitting given the game’s comical nature.

But this is a quite an important feature that can damn a point-and-click pixel game into the nine circles of game development hell. If a pixel game’s standard is to look attractive, then knowing what anything and everything is at a glance should be the barest minimum. This is so I can tell the difference between a baby rattle and a bomb so I don’t accidentally recreate a morbidly dark version of a loony toons skit. So, how hard is it to tell what the hell I’m looking at and clicking on? I’m happy to say, hardly difficult at all. Unlike some point-and-click titles, this is one where I can tell exactly what’s what and who’s who.

Pretty much everything of interest is definable from the background and usually large enough and colorful enough to catch the eye. Anything that doesn’t easily stand out can be found with a little mouse waving. The point is, I never had a “What the $&%! Am I looking at?!” moment, or ever got stuck because the thing I needed to find was so obscurely hidden in a mess of visual clutter, so that it ended up being a hidden object game on top of a logic puzzle.

Finding things was fairly easy, and the game hit that sweet spot of being visually interesting and fun, but not so much so that I ever got sick and confused from looking at it. The game’s visuals are neither boring nor over stimulating, and the valuable items are easy to distinguish with a little looking at the most, giving the Darkside Detective a pass and thumbs up in its visuals department. While I do admit some more dynamic animations would have be welcomed, I can’t say there was any point in the game when I didn’t enjoy what I saw on my screen.

When it comes to audio, yeeeeah, don’t expect award winning vocal performances because as well as having no mouths, no one has voices either. Does this bring down the game? Well if you hate reading of all kinds, then yes, yes it does. However, if you do enjoy the written word as well as or even more than the spoken, then you’ll have no problems here. For me, the silence is actually preferable in this case. The lack of vocal sound leaves one in a quieter atmosphere, as well as it draws more focus on the music, which I’ll get to in a minute. Also, personally, I would bet that the voices the devs would get for the characters if they did, wouldn’t be as good as the ones imagined in my head.

Sound Effects

As for sound effects, they do their job, quite minimal and only occur during certain events such as putting out a fire but are well used as they do add to the scene or action. I can’t really complain about nor commend the sound effects, but given how little significance they have to the game as a whole, I don’t think it really matters. In a more action focused game, this would be a problem, but in an adventure title having sound only when something’s happening is probably for the best. Having constant, distracting noises would probably just get annoying over time, and like I said, when they do occur, the sound effects do add something, so they’re not a waste.

Soundtrack

Finally and most creepily, you have the music. If the voice and sound effects were largely ignored to focus on the music, then I have to say it was a smart choice. Simply put, the music for this game in fantastic, a beautifully fitting soundtrack of creepy and spooky pieces, paranormal and ghostly in tone and execution, amplifying the horror side of this horror comedy. Each song a similar yet unique brand of subtle horror, not truly scary or spine chilling in the sense of wandering around an empty house with Michael Mires walking in pace right behind with that classic Halloween music playing. It’s more on the side of what you would hear in say a supernatural mystery documentary, or a ghost story narrative such as tales from the crypt.

The Darkside Detective Soundtrack by Ben Prunty

It’s whimsical, with a good deal of creep factor, not to cause terror, but to draw one into a state of calm eeriness. It’s somewhat enchantingly haunting all at the same time, more serene than disturbing, in a way that soothes the nerves rather than putting them on edge like the aforementioned Michael Mires theme music. It also gives the feeling that something’s not quite right, that proper paranormal vibe like a specter may be looming over you.

Gameplay

As a point-and-click adventure game, the biggest thing you would want to know is this “how hard is the gameplay?” Because when it comes to games like these, difficulty can range from being fairly easy, just click the big shiny red button with “press this” in big, bold letters. To being more challenging in terms of gameplay with “you better have a detailed walkthrough on hand cause this will be like figuring out the Divinci Code, upside down, in a bad translation of J.R.Tolken Elvish speak…………and the paper’s on fire”. Thankfully, the Darkside Detective is not the latter and far from it.

The answer to this conundrum is easier than you think, though it does require extensive understanding of fourth dimensional quantum physics.

Puzzles

The puzzles are on the easier side of the scale, with the majority of puzzles giving strong hints as to what you need to do and what does what, as well as being largely involving “use this on this” style of puzzle solving. A staple of point ‘n’ clicks, with a few fun little mini games such as clear the tiles, make a pipe chain, or connect the wires without crossing them. Most of the use this on this puzzles usually took but a minute to put two and two together, after finding the needed objects. The only times I ever got stuck was because I didn’t know exactly how to use the items and on what. This was largely due to not knowing what order certain things had to be done in, but even then, that was only during a few problematic minutes.

Only once did I ever run into a situation where felt particularly stuck which I feel is worth mentioning. This happened due to an arbitrary order of operations where in this particular instance I had actually worked out what I had to do, before clicking on the hint that would lead me to the action.

Aaah, if gamers of the past could see us now. Futuristic graphical technology that can render beads of sweat dripping off of a realistic swimsuit model, and we’re still playing games you could run on a calculator.

Aside from that, the gameplay is, admittedly pretty average, though I did find the occasional mini game quite colorfully fun and a welcome exception to the standard point ‘n’ click affair. The puzzles that had logical solutions were in no way hard, and any puzzles whose sensibility and reasoning deviated from common logic were clearly explained. I never really encountered a situation where I’d solve a puzzle and then say “how the hell does that make any sense?!”, or, “how the hell was I supposed to figure that out?!”, or “how many drugs were these developers taking to think this up?!” And you know what? That’s the way I like it.

The puzzles are easy but not too easy, thus giving quite entertaining and not too frustrating obstacles between plot segments or events. The short length of each case (level as it were) makes it so that they don’t get stale before the next case, and helps change things up a bit.

Final Thoughts

The Darkside Detective isn’t revolutionary, it isn’t mind blowing and it isn’t a brain buster. However it succeeds where it matters most, it’s fun. It’s fun to look at, it’s fun to listen to, it’s fun to watch, it’s fun to read, and it’s fun to play. From start to finish, I had a great time playing this wacky little game and enjoying all the humor, mystery, and added spookiness that it had to offer. While I can definitely see room for improvement, this is still a solid experience as it is, and I wholly recommend it to anyone who wants a light-hearted adventure into the world of the supernatural and occult.

However, though the find and use puzzles are a common staple of the point-and-click genre, I do genuinely think they’re becoming too common place in gameplay in these games. I would rather see more of the kind of puzzles that diverge from the well-treaded design. In The Darkside Detective these worked well to a certain extent, but it was the puzzles that didn’t have them, that really stood out for me, even if they were ones not completely original.

I much prefer adventure games with clear, simple, logical puzzles rather than the extremely obscure moon logic puzzles the “classic” adventure games present me with, and you know why? Cause that’s not what I playto adventure games for. I come to them for enjoyable, entertaining stories as well as characters with clever dialogue, colorful plots, and interesting worlds to explore. That’s exactly what The Darkside Detective gives players.

If you enjoyed this review be sure to read more with our latest thoughts on action shinobi Sekiro Review: Shinobis Die Many Times. Or you can check out Capcom’s demon hunting title Devil May Cry 5 Review: Ssstylish Perfection.

The post The Darkside Detective Review: Occult fun for All Ages appeared first on Fextralife.

The Darkside Detective Review: Occult fun for All Ages published first on https://juanaframi.tumblr.com/

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hardcheapknock-blog · 6 years

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We did it! We passed the time for 50 days by providing memorable Star Wars related content for you the humble and gorgeous viewer(s). Holy craps what a ride. Well, we are on day zero and probably have seen or are seeing The Last Jedi as we speak. So for now here is some bonus goodness from some of our beloved authors before we go on a much needed holiday hiatus and Last Jedi binge. See you in 2018!

Gundy

The Audacity of A New Hope

Our 50-Day Countdown was really tough. What really surprised me about my performance during the countdown is I never really ran into a creative block. My biggest challenge was finding the time to do what I wanted in the time allotted. If it became clear that I would not have enough time to create the post I wanted, I somehow found a way to post something faster to buy myself extra time.

Each of us had to publish every four days, and with each other as our own best critics, the posts had to be solid. JERMAINE SOLID.

Sometimes an idea hit me and I had it turned around in 24 hours: “Rey Mind Trick“, “Midichlorox“, and “Chalmun’s Cantina Sippy Cups” are good examples of this. One post, “‘Made To Suffer’ by Guest Artist Edvard Munch“, actually happened by accident and I just followed it to the new conclusion which was really fun!

The Red Arm Diaries

C-3PO’s red arm was a source of hilariousness for me. It’s absurd how it is introduced, made to be an object of mystery and speculated upon, and then by the end of The Force Awakens, replaced with the normal, gold arm.

I’d planned to focus almost entirely on the Red Arm in a series called “The Red Arm Diaries”. This would include equally-absurd theories of how the red arm came to be. Yes, I am aware that the real story behind the red arm is out there to be discovered, but the average movie-goer isn’t going to do that. I had planned to create one-page vignettes around what transpired between Episode 6 and 7 that could account for the red arm.

In the end, I only did one comic, “Reunite Us, Interruptus“. I’m not sure if I got tired of drawing old Goldenrod or just lost faith in the idea. The other ideas that I did make a priority are still things I’m very happy with. In general, I just wish I’d done more comics.

The Reject Pile

Here are some ideas I decided NOT to do…

“The Red Missile”

I had the idea for a short comic where “Holiday Special” Boba Fett’s backpack missile kept getting him in trouble whenever he wanted to rent a creature to ride – by accidentally firing and choking them. So he’d have a reputation for just being a lousy customer and not the bounty hunter everyone fears him as.

In starting the research, it made me really sad to hear about all of the incidents in the 70s that led to toys no longer being able to fire missiles on which children can choke. So I scrapped that idea. I really wanted to make that pop culture reference work, but not on the backs of dead children. Well, this time.

“The Shortest Fan Cut of ANH”

I thought it would be funny to show how simple things would be if R2-D2 had simply started flying as he did in Attack of the Clones but in A New Hope.

So, the droids land of Tatooine… C-3PO mounts up on R2, they bypass the jawas and the Lars farm and simply fly to Obi Wan’s hermit hut. They fly to Mos Eisley and hire Han and Chewie AND they are able to arrive on Alderaan before it blows up! Later, they simply mount a bomb on him and send him into the exhaust port, flying, kamikaze-style. The end.

“A Christmas Falcon”

I have a lot of great photos from my childhood, opening Star Wars toys on Christmas morning, wearing Star Wars pajamas. I just couldn’t think of a way to make that slice of nostalgia into a post.

Yeah! The Imperial Troop Transport!

Christmas Falcon! PJs!

Whoa, how did this get in there!

Thanks for reading!

Samson

It really doesn’t surprise me anymore about how much back story can be created pertaining to the most random stuff in A New Hope. Case in point, the large skeleton of some beast that roamed the Dune Sea of Tatooine, which 3PO just happened to walk by, in search of rescue. I don’t know when they first started calling it a Krayt Dragon. It must have be a while back ago, cause when I was looking up images of the skeleton, I knew to look up “Krayt Dragon.” Apparently they are the apex predators of Tatooine. Too bad we didn’t see a living one in the film take down a Bantha or some Jawas.

My problem isn’t so much with all the back story stuff, be it official or fan fiction. My problem is with all the art being created hypothesizing what the creature actually looked like in the flesh. All the renderings pretty much show a traditional, elongated dragon head complete with horns around the back of the head. Even Terryl Whitlatch, who designed a lot of the creatures for Episode I, drew her dragon with fairly long snout. I really love the illustration, but that skull just doesn’t match the source material. If you look at the skull in the film, it’s a stubby head with no horns. It almost looks like a Camarasaurus (sauropod dinosaur) head, but with pointy, needle teeth. The only illustration that comes close to the skeleton on film is a painting by Ralph McQuarrie depicting two sand people hunting a Krayt Dragon. I think it was part of the original pitch art he created for Uncle George, but I’m not entirely sure about that. It may have been done much later for some book, regardless the head on this dragon looks rather stubby. Either way, there sure is a crap load of stuff for a background skeleton that only appears for a few seconds on screen. But that’s the appeal of Star Wars. All these little details, bringing the world to life, that people will obsess over and latch onto… even 40 years later.

FlippyCrap™®

Counting down origin

Well a quick tale of truth is 2 years ago I decided to countdown the days till The Force Awakens by myself despite Phil Collin’s song Against All Odds. Well take a look at me now Phil! I started at 100. That’s one more bottle of beer on the wall per the song and I don’t even drink! And without any preparation or knowledge of Star Wars(lie). Yeah in retrospect it was a crazy venture seeing how there is life. But I went with it. Using facebook as my vehicle of display, each day I posted something new. In the beginning it was just me googling the hell out of SW related items and trying to find the funniest or most interesting ones. But then I started to actually create my own. It seemed more ownable and frankly the kids (7-12 friends) loved it.

Some of those “classic” ones were inserted into this countdown because dammit I could do what I want. Those were The Star Wars Halloween Special (day 45) and Thanksgiving message from the bounty hunters (Day 22). But the rest were new, fresh and stupid! Just don’t forget to tell Kanjiklub!

So short, long story brief, my colleagues at HardCheapKnock decided to do one together for The Last Jedi. This way it was not as daunting with multi folks on it. In truth it still was tough but we frickin’ did it!

Writers notes

Some of the inspiration behind my posts:

Yoda’s Suffering (day 35) – this was intended to be a message about the struggles of children in Uganda. You should read about it on the web if you have time.

Not again Threepio NSFE (day 35) – again about Uganda

Walrus Man Discount Replacement Limb or Other Club (day 2) – This one took about a month to do. Mainly the drawings of every body and part. Actually I had this mostly done before we even started the countdown. Just tweaking it along the way.

Utini Speeder Wreckers (day 15) – This was a homage to a local CHICAGO TV commercial from the early 90’s. Took about 2 weeks to do. And if you think the quality looks shitty that was the intention so wah! Here are some clean behind the scenes photos then jerks.

Anyways God bless you if you sneezed within the hour (otherwise this is void). And God bless Star Wars.

As a reminder although the countdown is over you have 11 more days to enter the: LAST JEDI COUNTDOWN CONTEST! We are giving away a $100 Dollar Fandango Gift Card!!! We know you are going to see The Last Jedi…so we want to buy your second, third or fourth viewings! So it’s quite easy to play. You can do one or all of the following for a chance to win:

Visit Hard Cheap Knock on Facebook

Follow @hardcheapknock on Twitter

Post a tweet

List the hidden numbers you found throughout the countdown – HINT there are 7 of them!

All of the above options must be activated through the fancy little entry form below:

Entry-Form

The more options you do the more your chance of winning increases! Enter today through December 25, 2017. Must be 18 years old to play and be a resident of the USA. For full official rules click here.

0 Days to The Last Jedi! We did it! We passed the time for 50 days by providing memorable Star Wars related content for you the humble and gorgeous viewer(s).

#50 Days of Star Wars #creatures #illustration #Last Jedi #Star Wars #The Last Jedi

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hseasonpodcast · 7 years

Audio

Chapter 3 Summary:

In this episode, we bear witness to the trial of the century as Dwayne Johnson is prosecuted for the murder of Hornswoggle. Find out the verdict in this gripping courtroom drama.

Recorded in Arlington, VA with Alyssa Cowan (Arlington, VA / alyssapants.com / @alyssapants), Johnny Black (Washington, DC / @JohnnyOverthink), and Noah Crowley (Springfield, VA / @capitallaughsdc)

Episode Notes:

There’s no type writer in this episode, because I discovered that mine kicked the bucket on the last flight it was on. =/

Here’s a link to the Russell Madness trailer we were watching: youtube.com/watch?v=dVH9ULo4mzQ

We make a joke about there being an app that people use when the Wyatts come out. That’s because we were at a WWE even and Johnny thought it was an app, and one of us was like…”You know it’s just the flashlight on your phone?” So, we still make fun of him for that.

Johnny, Noah, and I enjoy going to Nova Pro Wrestling (@VAWrestling), and Cutie and Beast (@CATBwrestling) is one of the tag teams we really enjoy.

I used the music of Kevin MacLeod in this episode. You can find his work at incompetech.com.

If you like the podcast:

Like us on Facebook (facebook.com/HSeasonPodcast)

Hop on over to our Mad Lib review generator (bit.ly/2ff5nrV). You add the words, and it will email you a review and a link to post your review on iTunes.

Thanks for listening!

Love,

Alyssa

Chapter 3

The Rock calls the cops on Dwayne Johnson. It’s a very “Don’t shoot me, shoot him!” situation. He calls the cops on him for the murder of Hornswoggle and he tries to frame him.

Establishing shot: the set of Ballers. Helicopter shot over the set of Ballers. The wind howls on a grey day. Isn’t Ballers in Miami? It’s grey in Miami sometimes. Even in Miami, it’s grey sometimes. Is it always sunny in Miami? No, that’s Philadelphia. This is when we realize that Miami is the shadowform of Philadelphia.

Is Miami the good guy? No man, it’s just different forms of life. The UnderTaker, woops I mean Mark Calloway, has his own rich inner life. We meant to talk about Mark Calloway, so we’re clear.

Back to the story:

Rain drops swirl as the cops circle around Dwayne Johnson. He was filming a drug bust scene so he can’t tell the difference between real cops and fake cops, so he’s not taking anyone seriously. Paul Scheer is really hamming it up and is like jumping in front of the Rock and someone straight up shoots Paul Scheer. That cop removes his mask and it’s Rob Corddry, he was in riot gear. Rob Corddry was part of the real cops.

Smash cut to Dwayne Johnson in a cop car, finally taking it seriously.

Rob Corddry starts fading like they do in back to the future. He has to get Paul Scheer into the recombobulation chamber so they both don’t die. Rob didn’t realize that’s what happens if you kill your shadow, or did he? ‘Cause that’s we’re trying to figure out.

Once your shadow dies you have 24 hours to get them into the chamber (recombobluation) so you can be the only version of that thing/person/place. That’s why the Rock called the cops on Dwayne Johnson.

Hornswoggle was murdered at the Megaman Invitational, which took place at Billy Ocean’s house, so they have to have the trial at Billy Ocean’s house. That’s how the law works (It’s maritime law, /shrug). This is the trial of the Rock vs. the People of the Republic of Billy Ocean’s Maritime House. Billy Ocean, Judge Billy Ocean is presiding.

The prosecutor would obviously be very great, just the best, we have great people working for us. We find out that UnderTaker has reincarnated Macho Man Randy Savage. He’s the prosecutor. He’s a real good guy, an Atticus finch type lawyer. Good dude. UnderTaker reincarnating Macho Man sparks a big Twitter war with Donald Trump.

The Rock is getting nervous because his defense attorney isn’t showing up. He woops, we mean Dwayne Johnson’s attorney. I guess the Rock shouldn’t have an attorney here.

The prosecution calls its first witness to the stand. The Rock is sad that his defense attorney Bray Wyatt hasn’t shown up yet. The Rock wanted to get rid of the… Dwayne Johnson’s attorney, I mean. Also the rock wanted to fuck this sentence, what’s next?

First witness: Kendrick Lamar to the stand!

“State your name, playa.”

“Kendrick, ‘I like to rap’ Lamar. State your name.”

“Oh, Billy Ocean. Sassy, you are sassy and I like it. I’ll allow it,” says the judge.

Macho man says, “Oooh yeaaahhh. ”

“Yes!” screams Kendrick Lamar, “Say your name, what is your name?”

“Oooh yeah, Macho Man Randy Savage. I played Bone Saw in the Spiderman movies oh yea, and Kendrick Lamar I’ve got you for two minutes.”

Kendrick Lamar just starts clapping. He loves it. Then they lower a steel cage that traps Kendrick Lamar and Randy Savage. Man, maritime law, am I right?

“Bone Saw, Bone Saw!” screams Billy Ocean. Shoutout to Spiderman for keeping wrestling kayfabe.

“Oooh yeah, now I’m just a simple small down lawyer, but will you explain to these good people what happened during the Megaman Wrestling and Rap Invitational?

“Well, I was rapping, which is what I love to do.”

“Objection, let the record show I also love rapping, I have a whole rap album. It was a dis track against Hogan and other songs.”

Billy Ocean is like, ” I’ll allow it. It’s not an objection, but it is a fun fact.”

“The murder weapon was the Rock’s hands, he killed him with his own two hands.” Kendrick has video evidence.

They pull down a Titantron, and it lowers from the ceiling. Kendrick yells “Play, Goddamnit!”

It shows footage of the piledriver. The courtroom is aghast at the grisly footage. A resolute Macho Man says, “Oh yeah, nothing further, your honor.”

The lights go out suddenly! When they come back up, the UnderTaker appears in the cage and Billy Ocean is dumbfounded: “Nobody can get into the cage when it’s lowered, I’ll still allow it.”

“I think you wanted somebody else,” says the UnderTaker and the lights go down one more time. The lights come back up, and Sting is in the cage.

“Oooo show time,” yells Sting! Everyone pops, but they also know that’s still not the right person. Very smarky people in courtroom

“How are people still getting into this cage?” Billy Ocean’s mind is blown. He can’t figure out the tricks of wrestling.

The lights go back out again, and all the jury turns on their phone apps that make the lights and stuff, and Bray shuffles in.

“Sorry, it was really dark, I had to use this ladder to get into the cage.” When the lights turn on he’s trying to pull his rocking chair into the cage, but it’s stuck.

“Brothers and sisters, I am in darkness because I am not blinded by the light, this man is not the Rock, I can see into his soul.”

“That’s not really a question,” says Kendrick.

Bray pays no attention to Kendrick Lamar, and continues ranting about snakes, some lady named Abigail and the Donald Trump Twitter war.

Three hours later. Bray finally successfully pulls his chair trough the cage, and Billy Ocean is like, “Why didn’t we just lift the cage to bring in the chair?”

The whole time bray was ranting he was pulling on the chair. Bray says, “Nay Brother Ocean, I wanted to bring the chair through the cage to prove that nothing is impossible. The Rock switched with Dwayne, like I did with UnderTaker and Sting.”

The funniest horse is like, “More like ‘neigh brother'”

The whole jury is horses: Seabiscuit, Bojack Horseman, Carrie, Black Beauty, Seasbiscuit, Mr. Ed, and they all chuckle at the joke. Also Hornswoggle wearing a horse mask is on the jury. Also Hayden and Hornswoggle’s horse cousin, but they’re wearing the horse costume. For some reason they’re both wearing the bottom horse part of the costume.

“Look at this hung jury, naw mean? We’re hung like horses,” shouts seabiscuit 1 as he starts laugh crying.

Billy Ocean says, “I’ll allow it. It’s my party, but you’ll cry if you want to. I extend that over to everyone here. :)” Half the room breaks down in tears.

“We’ve been holding back that life is so sad,” they say.

“Prosecution call your next witness. ”

No! Swerve, the defense calls in Paul Scheer. Rob Cordroy brings in Paul Scheer in his backpack. He’s a busy guy on the go. But everybody thinks it’s Paul Scheer, just wearing a normal backpack. Bray is asking Paul Scheer to tell people something only the Dwayne Johnson would know, and not the Rock, but Paul Scheer can’t because it’s really Rob Corddry. Rob Corddry asks, “What is the Rock cooking?”

Dwayne is like, “Falafel?”

Gasps through the courtroom. Horses hate falafel. But they know he’s Dwayne now and not the Rock. Among the hubub Billy Ocean slams his gavel, and send the horse jury to the stable to render their verdict. They all have matching shirts, they rull cool.

By the way. The four horsemen are there too. We totally didn’t miss it. They’re all there, all the different iterations, and the four horsewomen. There are like 12 of them. 12 four horsemen.

The horse jury returns after exactly four hours, a lot of it was for the sandwich eating, they really just wanted sandwiches, they knew what was going to be the final verdict, but hey, free sandwiches. They declare the Rock not guilty, as Hornswoggle pulls off his horse mask. A hush falls over the crowd, “How can Hornswoggle be dead if he’s alive?” UnderTaker crawls up the wall into an air duct so as to not have to explain this situation, it’s just super complicated and he doesn’t want to have to deal with that shit. Just as he gets in the air duct his mom calls and the ringtone echoes throughout the courthouse, it’s the song “Mama Mia” by ABBA. Billy Ocean is like, “What the fuck? He’s not even dead? We just wasted our goddamn time!!!”

The Rock bursts into the courtroom, “Not True!!! He’s double not guilty, which makes him guilty!!” Billy Ocean is all like, “Ohhh shit man, that’s crazy. ”

So, Dwayne Johnson is heading to jail, and surprise, the road to WrestleMania is also a moving walkway. Like at an airport. A moving walkway is the shadow version of a road. So they’re there. WrestleMania.

Cut to Stone Cold. The camera pans up a little bit more and it’s not Stone Cold, it’s Cutie and the Beast!! Cutie is like, “Do you think we can do? We can make it to WrestleMania?”

And the Beast says, “Yes, ’cause we’re family, and the best tag team is family!!!”

#fanfiction #pro wrestling #wwe #hurricanrana season #h season podcast #podcast #the rock #dwayne johnson #the undertaker #hornswoggle #seabiscuit #alyssa cowan #johnny black #noah crowley

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thomasroach · 5 years

Text

The Darkside Detective Review: Occult fun for All Ages

The post The Darkside Detective Review: Occult fun for All Ages appeared first on Fextralife.

The Darkside Detective Review: Occult fun for All Ages

youtube

Story & Setting

If my mother had that much storage space in her closet, she’d still run out of room by the end of the month.

Audio & Visuals

There are no words to describe how I feel about this.

Sound Effects

Soundtrack

The Darkside Detective Soundtrack by Ben Prunty

Gameplay

The answer to this conundrum is easier than you think, though it does require extensive understanding of fourth dimensional quantum physics.

Puzzles

Final Thoughts

The post The Darkside Detective Review: Occult fun for All Ages appeared first on Fextralife.

The Darkside Detective Review: Occult fun for All Ages published first on https://juanaframi.tumblr.com/

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