“My spider sense is tingling…”
“My spider sense is tingling…”
Mad Monster Party is a 1968 Halloween-themed children’s film created by the Rankin/Bass animation house and written by Mad magazine’s creator, Harvey Kurtzman (with Len Korobin).
Rankin/Bass were famous for their stop motion Christmas favorites like Rudolph the Red-Nosed Reindeer and Frosty the Snowman. The film was directed by Jack Bass in their signature “Animagic” process.
Many of the characters in Mad Monster Party were designed by Mad’s Jack Davis, a man well-suited for the gig by his earlier comedy/horror work in the pages of EC Comics. The film featured the vocal talents of Boris Karloff and Phyllis Diller who were represented onscreen by their own likenesses.
Mad Monster Party was very influential on Tim Burton’s short film Vincent, The Nightmare Before Christmas and Corpse Bride. Some of the monster characters in Corpse Bride seem to be in homage to the earlier film. It would also appear that the Sesame Street character, “The Count” made his first appearance here, too…
I’m decorating my entire apartment with these.
Via Don’t Ride The White Horse
How Taiwan’s news reported Osama Bin Laden’s death.
An oldie but goodie has been re-imagined to reflect today’s news.
Yes, I know its easy to get carried away with the gung-ho vibe that’s permeating the airwaves right now, but I’m savoring it for a few hours before cynicism sets in.
Superb animated timeline of Stanley Kubrick’s filmography by animator Martin Woutisseth. Music by Romain Trouillet.
In the opening titles of his 1968 animated short Glass Harmonica, Russian director Andrei Khrzhanovsky claims to present a cautionary against “boundless greed, police terror, [and] the isolation and brutalization of humans in modern bourgeois society.” Of course, it was more complex than that.
At the time Khrzhanovsky made the film, Russian animation had experienced a creative renaissance that spanned most of the ‘60s, fuelled by the Soviet Union’s post-Stalinist liberalization policy best known as the Krushchev Thaw. Although that period yielded cutesy and colorful satires like Fyodor Khitruk’s 1962 short Story of a Crime, Glass Harmonica—which posits music to symbolize beauty repressed by avarice—stands apart.
Amid desolate modern landscapes, Khyrzhanovsky and his dozen animators tell the tale with some industrial age and Renaissance visual elements, along with some zany zoomorphic caricatures of paranoia and envy. Buoyed sonically by Alfred Schnittke’s Quasi una sonata and drawing from Breugel, Dali and George Dunning (the director of Yellow Submarine), Glass Harmonica reaches even proto-Python-esque heights towards the end.
Despite its semi-socialist utopian resolution, Glass Harmonica comes off as surprisingly quaint and archaic, even as an indirect product of Kruschev’s less ideologically rigid era.
After the jump: check out part 2 of Glass Harmonica…
Fun, fun, fun cartoon music video of Richard Hell And The Voidoids “The Kid With The Replaceable Head.”
The version of “...Replaceable Head” used in the cartoon is the remixed and partially re-recorded version that appears on the Destiny Street Repaired album which was released in 2008, a reconstruction of 1982’s Destiny Street. The history of the record is an interesting one. In his review of Destiny Street Repaired, Bill Meyer gives us some insight to the album’s resurrection. Here’s an excerpt from Meyer’s article:
It took Hell five years to get around to recording a follow-up to Blank Generation. The Voidoids had been defunct for over a year and the man was soul sick, junk sick, and ready to give up the rock game. But he had some songs, a label ready to give him some money, a palpable need for that cash, and guitarist Robert Quine’s phone number, so in 1982 they pulled together a band — Hell on bass, Quine and the one-named Naux on guitars, Fred Maher on drums — to make one more record. Things went as planned for a week or two, but after cutting the backing tracks Hell lost his nerve and refused to come into the studio for a week and a half. According to Quine, he and Naux spent that time overdubbing every idea they’d ever wanted to try, which depending on your perspective turned the music into either “high-pitched sludge” (per Hell in the liner notes to the Spurts career retrospective) or the aforementioned glorious mess. After Hell finally dragged his sorry ass into the studio to finish the record, it sat in bad business limbo for another year before Line Records finally put it out.
Ever since then he’s expressed his disappointment with the result, and in 2008 Hell geared up to put it right by re-recording the vocals and lead guitars over rough mixes of the rhythm tracks.”
Hell brought in Bill Frisell, Ivan Julian and Marc Ribot to contribute to Destiny Street Repaired and the result was an album shocked like Dr. Frankenstein’s monster into new life. As Meyers puts it, the album is “more full and satisfyingly full-on.”
Despite the fact that overall there are fewer guitar tracks, the guitars are actually louder on Repaired than they are on the Line LP, and any record that showcases Ribot, Julian and Frisell in a rocking mood is nothing to ignore. The weirdly striated frequency spectrum of the original mastering job, which seemed as thin as mountain air in the higher frequencies, has been replaced by something much more full and satisfyingly full-on. And as a singer, Hell Mk 2008 manages to hit more of the notes with more force than his more desperate and debilitated self a quarter century earlier without going for any misguided notion of perfection.”
Bill Meyer’s entire review of Destiny Street Repaired can be read at Dusted.
Update 4/25: Meyer gives credit to German label Line Records for being the first label to release Destiny Street, which may be true for Germany but not the USA. In fact, it was released in the States on Marty Thau’s legendary Red Star records. In France, it was released by Celluloid. All in 1982. As to the source of the money for the making of the record, my bet is on Thau. I’ve e-mailed Marty and am waiting to hear back.
Update 4/25: The always gracious Marty Thau responded to my questions regarding Destiny Street and its intriguing history:
Red Star financed the original version of Destiny Street and eventually licensed it to Line Records in Germany, who didn’t pay royalties until they were caught years later.
Not only did Red Star finance the original version of “DS” but it’s distributor, Jem Records, manufactured it for Red Star before anyone else in the world. History must not be rewritten no matter how bad the vibes might be.
Red Star’s version of “DS” was chosen as the #3 best record of the year by the NY Times in ‘82 by Robert Palmer. I believe that Richard’s new version of “DS” doesn’t improve upon the original, as much as he’d like to think it does.
Back in the day Richard was a useless drug addict who didn’t live up to his promise. He’ll admit to that.”
“The Kid With The Replaceable Head (2008)” is available as part of the Richard Hell retrospective cd and can be purchased here.
Here are both versions;
Personally, I prefer the sludgy, raw basement sound of the original recording. The re-recorded version is a little clean with a slick sheen and the poppy background vocals up in the mix work against the punk Voidoid vibe. But, either way, it’s a great song and Richard Hell is undoubtedly a legend not to be messed with…unless he doin’ the messin.
Think of it as a Schoolhouse Rock episode about the varieties of right-wing assholes…
The Dipshit Doodlebug Institute takes an in-depth look at the Republican Party and breaks them down into 10 distinct types.
Self-censoring animated gifs.
Via Liquid Atomic Gonads.