I must give the grandest, most special thanks to my executive producer @whyx3.bsky.social who inspired the whole project and gave very comprehensive notes. Thank you as always!!~

‼️OUT NOW‼️The Bob Richardson reel is officially live!!

In a time of malaise and budget crunch, Richardson's animation rises above the rest by incorporating a devout sense of fun and lively action. Hope y'all enjoy it!!~ youtu.be/wTm7DSAhakk

‼️COMING SOON, APRIL 17‼️A brand-new Sakuga MAD reel on a decidedly underrated talent: Bob Richardson. Witness perhaps some of the most realized and lively animation during an era of American animation known for the exact opposite. Look forward to it!!~

Special thanks must be given to my amazing producer/consultant @whyx3.bsky.social. As well as @ibcf.bsky.social, @devonbaxter.bsky.social, @nobaddy.bsky.social, and @ani-obsessive.bsky.social for help with footage and additional notes.

‼️OUT NOW‼️The George Nicholas Animator Reel is finally out! This has been a true labor of love and I'm so excited to see it go live! I hope you enjoy!!~ youtu.be/QBZi-82Vtr4

Pluto's gazing at a circus poster from 1950's "Wonder Dog"

A zany pose of Mr. Jinks caught by a rope to the neck from the 1959 Pixie, Dixie and Mr. Jinks segment "Lend Lease Meese"

Pluto and his cat butler striking pay dirt (erh bone) from the 1951 short "Plutopia"

Goofy's pronounced reaction to being slipped a mickey from Jack Kinney's 1952 short "How to Be a Detective"

A true love letter five years in the making! Showcasing footage from his beginning at Walter Lantz, his Disney achievements, all the way to his final works with Chuck Jones. Witness the evolution of one of the most unsung comedic animators.

‼️NEW VIDEO‼️COMING MARCH 20!! After a three year hiatus, I'm pleased to announce I'll be releasing a BRAND-NEW Sakuga MAD reel on Disney/Chuck Jones/Hanna-Barbera animator George Nicholas. Please look forward to it!!~

Hey! Did you know I have a letterboxd? Follow me there to learn my thoughts on what I’m watching or shame me for the movies I haven’t seen yet. I’ve been very active on it lately so give a look if you’re curious boxd.it/3KskX

Animation discourse has rotted so strongly that the few people remaining are either legacy critics hiding in secluded discord servers or unchallenging nostalgia bait. The scene I once loved slipped into safe regurgitation of the acceptable cartoon topics or utter bigotry. It’s unfortunate.

(*Author's Note: Singin' in the Rain is my favorite musical, so no shade meant)

Forget Singin' in the Rain*! More animators should 1969's "Sweet Charity" to understand communicating personality, rhythm and inventive staging. Shirley MacLaine, brightly dancing to director Bob Fosse's flawless choreography, brings out a truly magical moment for movie musicals. Highly recommended!

Williams, an otherwise capable artist, was always a sloppy director for his constant ability to never finish films on time. Damning his professional career for the next three decades. Yet, his commercial works for film and ad agencies remind you when it was finished he could turn in solid stuff.

Richard Williams' animated credits sequence for the Richard Lester adaptation of "A Funny Thing Happened on the Way to the Forum" (1966). Brilliantly rendered to encapsulate the aged beauty of Roman mosaic art, fitting the accurate to life comedic identity of Lester's Rome: beauty caked with sleaze

Major takeaway: Never stop producing commentary tracks. Even the worst schlock deserves expert analysis and deconstruction. I want to hear trusted sources dissect even the most loathsome drive-in filler.

The beauty of commentary tracks is experiencing new perspectives and important historical context that enrichens your appreciation of the greatest works of cinematic art. Oppositely, it's enjoyable listening to an academic roast for trash that doesn't deserve a second glace. Such as...

you can’t keep a good crow down :)

Credits from "Urbanissimo" (1666) featuring Benny Carter (saxophone) and all ensemble musicians. Of them includes Maynard Ferguson (trumpet), Shelly Manne (drums), Harry Edison (trumpet), Ray Brown (bass) and Pete Jolly (piano)

The Hubley difference is crediting every musician apart of the ensemble. Here is every player with their instrumented provided

-Maynard Ferguson (trumpet)
-Shelly Manne (drums)
-Harry Edison (trumpet)
-Ray Brown (bass)
-Pete Jolly (piano)

...and of course, Benny Carter on saxophone

Benny Carter's isolated score for Faith & John Hubley's "Urbanissimo" (1966). Carter captures the destructive waste of urban industrialism using a bright hot swinging jazz ensemble. Gentle swing mixed with violent hardbop, playing into the film's effortless political satire. Have a listen!!