![]() Rogers is one of many young actors taking on roles that weren’t necessarily created with Black women in mind. “I really hope for young women that come to see it, that they they do leave feeling inspired, and they feel seen and loved and heard,” she said. Rogers said it is important for her to show Betty as a fully-fleshed human being. ![]() And she doesn’t even know what it is because she’s never experienced it in any of her shorts. “There’s one thing missing in her life, and it’s love. “The character is one of those indomitable spirits that just can’t be broken,” said Mitchell. The musical’s creators have crafted a story of empowerment for Betty. She was introduced in short movies fluttering her lashes and trilling her signature “Boop-oop-a-doop,” a Depression-era bad girl. ![]() Please consider reading that one and following it as well.The musical has songs by multiple Grammy Award-winning composer David Foster, Tony Award-nominated lyricist Susan Birkenhead and a story by Tony Award-winning book writer Bob Martin (“The Drowsy Chaperone,” “The Prom”).īetty Boop has been a queen of animated cartoon characters since 1930, wearing round eyes, a strapless minidress, with a garter peeking out above her knee and large hoop earrings in her ears. I also keep up a mathematics blog, including fairly frequent columns reviewing the comic strips that've done mathematics jokes. I already was enjoying the cartoon, even if it stalled for time before getting to the apartment building, when the Liszt kicked in. I could believe it being justifiably a craze. The strip, like many back then, was a serial adventure comic. But Comics Kingdom has been running the Barney Google strips of the early 40s, and yeah, they’re pretty interesting. I haven’t read the strips of the 1930s so I have no informed opinion about whether everybody was just crazy back then. Peanuts creator Charles Schulz was nicknamed “Sparky” after that horse. ![]() I mean, like, popular in a way you’d think I was joking if I told you about. Sparkplug, or Sparky, was the name of Barney Google’s flea-bitten horse in the comic strip that, back then, was incredibly popular. The horse’s name is surely a pop culture reference too. It’s riffing on the tagline of The Four Cohans, or as we know them if we watch a lot of Turner Classic Movies, James Cagney as George M Cohan in Yankee Doodle Dandy. The musician at the end saying “My father thanks you, my mother thanks you, I thank you, goodbye” is a pop culture reference. You’d think an apartment fire would be enough for a good cartoon. Maybe to make sure the cartoon didn’t come in too short. There’s also, yeah, some dull bits where they drag out a bit of animation, maybe to make sure we saw the pansies dancing, thank you, now move on. (The ‘Fire Water’ barrels in the basement are on-screen too long to really count.) I do like the swapping of positions between Bimbo and Sparky as they slide down the firepole. There’s not really a blink-and-you-miss-it joke, or else I blinked. It ends at a logical point, as the Hungarian Rhapsody does. And the story parses too the fire call comes in, Bimbo(?) and his horse Sparky make their way to the scene they rescue the longhair musician despite his best efforts to finish his piece. The title makes sense it’s a cartoon about a fire fighter that I suppose is our second Bimbo cartoon. It has to be wrangled out of shape and then it consents to move. It’s a great example of the rubber-hose style where nothing just moves. At least one gets a good gag of being picked up by the fire hose. They never quite do much, but they run around, and that can be enough. Kind Of Mickeys are all over the first scene, in many of the subsequence scenes, and pretty well fill out what would otherwise be negative space in this cartoon. This cartoon more than makes up for their absence. I had stopped tracking when suspiciously-Mickey-Mouse-like mice appeared in these cartoons because we went a couple weeks without any. Still, Fire Bugs is one of the early examples of this song becoming the Golden Age of Animation composition. It’s hard to imagine there are many earlier cases. The earliest I’m aware of is the 1929 Mickey Mouse cartoon The Opera House. There was, incredibly, a first time that the strong beat and wonderfully varied melody and great, riotous structure of the Hungarian Rhapsody Number 2 was first set to an animated creature clowning around on the piano when something more urgent was under way. There was a time when nobody had thought to use Franz Liszt for a cartoon.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |