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Monday, January 12, 2009
Why Cartoon Animation Steered Off Course
From the 20s and through the 30s animation exploded as an art form. From simple stick figures to a whole new discipline that took advantage of a visual element that was never possible before - movement.
A few animation "principles" were developed and refined within less than a decade!
Animation, born of the also recent invention of cartoon art and comics was a whole new way of looking at the world.
It took all the boring parts out of life and just left the fun parts. It was fun to look at and fun to watch move. It told funny, ridiculous stories. It was the ice cream of the arts and because of it became the most popular of all the visual arts. Most people like fun - except executives who prefer market research.
To me the first half of the 20th century could be known as "The Cartoon Age" just as well as "The Jazz Age" or "The Age Of Progress".
Astoundingly, this unbelievable new creative medium didn't get much respect - surely because it was so inventive and obviously directly enjoyable by so many people.
Some comic strips artists were respected (and made tons of money) but animators - who were doing a much more sophisticated form of cartoon got paid less and no respect. Most animators, excluding Walt Disney, were practically anonymous - unlike their comic strip counterparts who were rich and famous.
Even the best draftsmen of animation's Golden Age couldn't draw as well as the average illustrators from the same period and I think many suffered an inferiority complex because of it.
This was probably mostly Walt Disney's fault. His own inferiority complex was contagious and poisoned much of the rest of the business.
He diverted almost everyone away from their natural cartooning instincts and made them all want to create "quality" rather than fun. Quality meant animating things that other mediums could do better and much more easily, like:
More detail
Human proportions
Elaborate special effects
Tribes of Naked Babies
None of these things lend themselves naturally to animation. They just make the work harder and eat away precious time that could be better spent being imaginative and doing what only cartoons and animation can do.
But creative cartoons and impossible magical animation don't get respect, remember. They just generate tons of money for the studios that release them - who in turn crap on the artists who made all the money for them.
Animators too busy comparing themselves unfavorably to illustrators, comic strip artists, live action movies and other related forms of art didn't realize how wonderful and unique their own skills were. The things you could only do in cartoons and the crazy amount of skill the animators developed in performing them came so natural to them that they didn't think much of them.
ANIMATION FIGURED OUT ITS BASICS BY 1940 - then stopped
What we think of today as "animation principles" were pretty much figured out by 1940 and nobody invented any new ones after that. For a few more years, they developed and refined this handful of techniques and produced the best animation in history.
While most animation leaders stopped developing new techniques in movement itself, they instead started thinking about "improvement" coming only from the drawings themselves. Different studios and leaders approached this in different ways, but all of them slowed down or reversed the tools that made animation its own unique art form.
Disney kept designing more and more complicated or "realistic" characters. They didn't change the way they moved them so much, just made it harder to move them.
Taller proportions-long legs. Much harder to move convincingly.
More detail - the more details on a character, the slower and more difficult it becomes to animate the character. More effort is expended on just not making jerky mistakes than on making the characters fun and entertaining. For 25 years, Disney's characters became harder and harder to draw, but the animation hardly varied at all. The characters moved the same way the simpler characters did - according to old Disney formulae.
Other animators see how technically well animated these elaborate Disney features are and know the incredible effort that went into them and are impressed. This doesn't automatically impress laymen or the audience though.
Chuck Jones developed his own unique drawing style and humor and year by year, toned down the animators' input or directed it to point to Chuck's poses and expressions. By 1948 he was making his funniest cartoons, but the animation was less inventive and fun for its own sake than just a couple years earlier.
By the late 50s the animation had become completely stiff and Jones' drawing style tastelessly out of control.
Magazine cartoonists drawing for Punch or The New Yorker got a lot more intellectual respect that cartoons from the "funny papers" or animation. Don't ask me why. The UPA artists drifted towards these graphic styles and abandoned creative movement - and definitely funny drawing almost altogether.
By the late 50s most non-Disney cartoons were left without clever and fun motion. Instead they traced back layout poses to make evenly timed inbetweens. The characters talked a lot more than they moved.
Disney continued doing elaborate movement because they could afford to and they believed still that that was what animation should do - it should move. At least!
But it was mostly movements you had already seen before in previous features.
The exception would be the imitation UPA cartoons they did - the ones you see imitated in all the "Art of Pixar" books.
These flattened Disney cartoons look to me like a misunderstanding of the UPA philosophy. Disney made harsh looking cold designs, but animated them very fluidly as if they were still animating Mickey and Donald. It's definitely clever (the first time!) but not very entertaining - except to Cal Arts alumni.
All growing art forms need bold charismatic talented leaders. Clampett was the biggest most influential leader in funny cartoons for the first half of the 40s and everyone imitated him - even Disney was obviously influenced.
His cartoons were constantly inventive and he wasn't a total slave to the "Disney principles". He more than anyone, kept expanding the medium of impossible movement (animation) and dragged the rest of the business along with him while constantly creating and developing characters.
Then at the peak of his inventiveness and the peak of the Golden Age - he up and left!
Some say he was fired, he says he quit. But I think this single event in animation history was the most catastrophic thing we've ever endured. His momentum carried Warner Bros. for a few more years even as they gradually slowed down, but it created a hole in the art form that has never been filled.
Tex Avery was the last leader to continue doing cartoony inventive animation, but he had less influence than Clampett because he didn't create characters. He made gag cartoons based on funny ideas rather than stories about funny personalities.
History has decided to award him the creation of Bugs Bunny, somewhat arbitrarily in my opinion - but how could it be that someone who created the greatest animated cartoon character in history could never again create even 1 character that the public really wanted to follow?
Tex still made some of the funniest cartoons ever, but we remember Chuck Jones, Hanna Barbera and Disney more. - because we associate them with casts of characters. Most humans would rather watch continuing adventures with characters they are familiar with than a series of brilliant one-shot cartoons. Of course we love star characters the best, but we'll even take less charismatic continuing characters if there aren't any stars around.
It's a natural impulse for us to bond with friends. We bowl with our neighbors and party with them - even if they are not the most interesting folks in the city. Today's networks have come to realize this. They will leave a boring series on the air long past the period where they aren't getting ratings - because the audience will soon get used to the characters and accept them and even believe they are entertaining. Especially since there is no competition.
Tex was the last guy to uphold cartoon animation's roots, but he wasn't enough of an influence by the 50s to halt the ever more decadent trends that the rest of his colleagues were following.
Progress died and even worse - cartoons as a unique form of entertainment and art died.
47 comments:
- oppo said...
Not to mention that Tex Avery made those UPA style Lantz cartoons like "Crazy Mixed Up Pup" and the like...
- JohnK said...
He did the UPA style right!
- PeteyX said...
Nice! I was just thinking the other day that I didn't see as much Tex Avery love here as I'd like. Sometimes ya get what you want.
- oppo said...
- This comment has been removed by the author.
It's all in perspective, now.
I see how it all went wrong.
You know, John, I've read somewhere that Mr. Jones didn't care much for Bob Clampett.
"Though Clampett's contribution to the Warner Brothers animation legacy was considerable and unarguable, he has been criticized by his peers as "a shameless self-promoter who provoked the wrath of his former Warner's colleagues in later years, for allegedly claiming credit for ideas which were not his." [2] Chuck Jones particularly disliked Clampett, and made no mention of his association with him in either his 1979 compilation film The Bugs Bunny/Road Runner Movie (in which Jones lists himself and other Warners directors) or his 1989 autobiography Chuck Amuck. Some of this animosity appears to have come from Clampett's perceived "golden boy" status at the studio (Clampett's mother was said to be a close friend of cartoon producer Leon Schlesinger), which allowed him to ignore studio rules that everyone else was expected to follow. In addition, Mel Blanc (the legendary voice actor who had worked with Clampett at the same studio for ten years) also accused Clampett of being an "egotist who took credit for everything." Beginning with a magazine article in 1946, shortly after he left the studio, and increasing as years went on, Clampett repeatedly referred to himself as "the creator" of Bugs Bunny, often adding the side-note that he used Clark Gable's carrot-eating scene in It Happened One Night as inspiration for his "creation." However, a viewing of the early Bugs cartoons of the late 1930s and early 1940s clearly demonstrates that the character was not "created" as a whole at one time, but rather evolved in terms of personality, voice and design over several years through the efforts of Tex Avery, Chuck Jones, Friz Freleng, Cal Dalton and Ben "Bugs" Hardaway, Robert McKimson, Sr., and Mel Blanc, in addition to Clampett's contributions."
Of course, Wikipedia also told me tomatoes cause cancer.
- dwestburg said...
Tex Avery created Daffy Duck and Droopy too. Granted they may not be as popular as Bugs Bunny but I don't think it's fair to say he didn't create other characters the public wanted to see.
- JohnK said...
Many people (including me) credit Clampett with Daffy Duck's personality.
He animated the first Daffy and directed most of his cartoons in the 30s, where he continued to develop his personality.
The other directors (including Tex) didn't seem to understand him. Daffy is merely obnoxious in Tex's cartoons. Friz never like him and you can tell in the cartoons that he didn't feel his "daffiness" sincerely.
Tex invented Droopy - whose personality is that he doesn't have one.
He still made the funniest cartoons ever though. And super inventive too.
- Jay Sabicer said...
John, I think the one thing you may have missed is the nature of the movie business as well. In the 20's thru the early 40's, an individual would go to the movies 2 or 3 times weekly! The motion picture industry was thriving beyond all imagination and had gobs of disposable income to provide newsreels, short subjects, and animated cartoons. Cartoons were outsourced, for the most part--Schlesinger for Warners, Disney made the rounds at Universal (Oswald), Columbia, and RKO, Terry for 20th Century, et al. When the bottom dropped out of the movie industry (some say during WWII, others say just after), costs had to be cut. First, consolidation: Warner Bros. bought out Leon, and Walt started distributing shorts on his own (having moved to producing live-action features, as well). Then, production budgets were cut. The UPA style was more a financial necessity than most would admit and Columbia, being the tightest studio with budgets fit hand-in-glove to Steve Bosustow's more limited, stylized output.
One could say that the post-war influx of better-educated people (GI Bill recipients who'd gone to college) entering into the entertainment business also created a culture of accountant and later, lawyer controlled administration. With that much "anti-creative" powers-that-be, it's little wonder by the 1950's, the golden age had ended.
- Elana Pritchard said...
If animation is such a new art form do you really think it is fair to say that it is dead already? Maybe it is just going through a lull for a bit. Sure, maybe America got really cheap and lazy for a couple decades, I'll give you that. Those decades also happen to be the decades a lot of us who follow your blog grew up in so we didn't know any better for a while. But if you've ever seen a burnt down forest a couple years after the fire, there are always little green plants growing up out of the big beautiful trees that used to be there before. I guess the point of what I'm saying is that you never know what people are going to end up doing in the future, how technology is going to change, what people's attitudes are going to be, and what new ideas people are going to come up with. Just because everything is shit now doesn't mean it's going to be always. I truly believe the more you think an idea or art form is dead, the more likely it will stay dead in the future. You can turn a blind eye to the little green plants if you'd like, but they are going to grow up into something someday.
- dwestburg said...
That makes sense. I seem to remember seeing an interview with Bob Clampett where he talked about animating the final scene from the first Daffy cartoon where he did all the crazy WooHoos.
Tex Avery is my favorite so just wanted to make sure he got his props. :)
- JohnK said...
"The UPA style was more a financial necessity than most would admit and Columbia, "
Melendez and others told me UPA had budgets around $35,000 per short - very good for the time and that they often went over budget.
- mike f. said...
Another crucial factor - one that would eventually kill the theatrical cartoon altogether - was the slow demise of block booking, a distribution practice that first became the focus of "controversy" in 1942, by an attack group with the appropriate acronym: "SIMPP"...
"In 1942 when the Society of Independent Motion Picture Producers [SIMPP] began its attack on the Hollywood studio system, the group of filmmakers singled out one old-time studio practice to focus its opposition. That controversial practice was known as block booking. Block booking meant that a studio would sell its films in packages on an all-or-nothing basis...
Block booking made it difficult for the independents to get their own movies into theaters when exhibitors had already purchased a block of films that would provide the theater with plenty of movies...
The producers believed that block booking encouraged slack filmmaking by forcing inferior films on the theaters and the moviegoers. In an open letter from 1942, the Society of Independent Motion Picture Producers called the practice "the root of all evil in the motion picture industry."
The SIMPP members brought this obscure practice to the fore until the courts finally abolished block booking—which has remained illegal to this day."
...Block booking has been more or less illegal since 1948. That was really the beginning of the end of the studio cartoon - until television finished the job for good.
- mike f. said...
More on the after effects of the ban on block booking - specifically how it impacted the Short-subjects and Animated Cartoon industries. (This material was copied from the Hollywood Renegades Archives database...)
Another side effect of the end of block booking which has been lamented by industry reactionaries has been the decline of the short-subject and the demise of the theatrical animated cartoon. During the studio era, all of the Big Eight distributors maintained their own in-house animation units or developed intimate ties with independent animation producers like Leon Schlesinger (Warner Bros.), Max Fleischer (Paramount), Walter Lantz (Universal), and Walt Disney (United Artists and RKO). Live-action shorts also provided a useful function by providing a test venue for fresh faces on the verge of stardom or new directors looking for a break. Before full-line forcing was disbanded by the Consent Decree of 1940, the studios would block book an entire series of shorts along with the feature packages. But even with this built-in market, the shorts were always in jeopardy of being squeezed out of the program, especially with the rise of the double feature. When the distributors were forced to tighten their belts after the Paramount decision, the short subjects took the hit. The live-action shorts were quickly phased out, while the animated cartoons held on a little longer.
The problem with the animated shorts after the Paramount case was that the studios did not immediately disband their animation divisions but had imposed cut-backs that eliminated quality and allowed the cartoons to diminish. The studios stopped creating new animated characters, and without the influx of new cartoon superstars, the market for animated shorts stagnated until the theaters removed the shorts altogether. In spite of surveys in recent decades that have indicated that theatergoers favor seeing extra shorts in addition to the regular feature, the return of cartoons to the theaters has been mostly speculative. The distributors have been unwilling to try to market new groups of shorts, and the major theater chains have been reluctant to try out a potentially lucrative cartoon series that would enhance the audience's theater-going experience.
- John A said...
Funny how almost every cartoon that copied the UPA style turned out to be more entertaining (and in most cases, better looking)than the shorts made by UPA themselves.
Most UPA shorts bore the shit out of me.
- Rick Roberts said...
"He made gag cartoons based on funny ideas rather than stories about funny personalities."
Well he did very interesting studies on common behavior such as Slap Happy Lion for example which is infact a very interesting study on bullying and the real cowardice behind it. Just look at the aftermath everytime the lion roared. Everytime he was finished roaring he looked like a buffoon, because that's what he was behind the macho demeanor he carried. His bark was far worse then his bite. When the mouse came into the picture, he was scared because he saw something that all bullies fear from their victims, self confidence. When someone finally stood up to him it first made him mad then was driven to insanity.
"Tex invented Droopy - whose personality is that he doesn't have one."
He's modest and shy despite the fact he is capable of doing anything, that's what makes him endearing. At least to me and I don't think I am alone on that one. No he wasn't as good as Bugs but he definetly invented the wabbit. Tex invented Bugs and Daffy but I feel Clampett did perfect them.
- Alex said...
well, I see what's wrong here...
how do you intend that the problem be fixed? What do we all (as animators) need to strive for, in your opinion? Clearly you're on the right track; but what will it take to get the idea past the business executives? What's the catch that's needed to get people to demand the product, rather than have it shoved down their throat by a network?
- Bill Perkins said...
Hi John.
Great post ! Couldn't agree with you more. I certainly felt Disney feature stuff fell of by the end of the 40's although they did some wonderful shorts thru the fifties. Like wise I liked UPA and Chuck Jones work thru to about 1956. I ALSO like the early H and B stuff but that is due to my fondness of Ed Benedict's design work. Animators are special cats.. no lack of drawing ability but a very specific application of that talent. You're right -- we're not illustrators, commercial artists, graphic designers and I do believe a lot of animators suffer from a inferiority complex. Bob Clampett certainly was a leading light in what we know come to think of as "Cartoon Animation" . I've always contended that to have the public at large appreciate his contribution his films need to be viewed not by themselves only but alongside the work his contemporaries were doing at the same time-- a comparative screening if you will. THEN a larger audience, outside of animation fans, might appreciate how far ahead of the pack he was. Bottom line is Cartoons were more fun when they were CARTOONY ! Great posts, I've read everyone of them. Keep up the good work.
- Isaac said...
- This comment has been removed by the author.
- Brian Goss said...
I always loved the slow talkin' Southern Wolf in Tex Avery's later MGM cartoons. I wish he'd made hundreds of those. The Three Little Pups and Billy Boy are hilarious!
- Doug said...
My copy of Porky's Duck Hunt only lists Virgil Ross and Bob Cannon as animators. Obviously they didn't do the whole thing themselves, and I don't doubt Clampett animated Daffy in that cartoon...but where do you look to find complete credits for old cartoons like that one? The only source I ever saw was an old interview with Clampett where he took credit for the scene.
- crazeziggity said...
It's funny how you rarely mention one animator/director whose cartoons I find especially funny and inventive: Frank Tashlin! He quit right around the same period Clampett did- the late 40's. I find his work and Avery's to be the most entertaining I've ever seen. Definitely underrated.
- Rick Roberts said...
"I always loved the slow talkin' Southern Wolf in Tex Avery's later MGM cartoons."
I always say that he's Huckleberry Hound except that he's funny.
- Oscar Baechler said...
I know this technically got to the end of title's point of when animation went wrong, but feel free to continue through the next six decades!
Just a warning, the URL for this post sends a very different, super-supportive cheerleader message than the post title. "Why animation steered, of course!"
- Niki said...
Halfway through this, I started to cry. Why can't this whole situation be fixed? Why isn't there anyone in the world, who has some resources and money, that wants to promote something fixing these kinds of problems? Cause for some reason people want to do something and don't learn it, then they fail and wine when the few people who do it are better than them.
Didn't any of the good guys think of becoming teachers? I think that would really have helped to reveal how complex animation really was, and I hopefully would have stayed enjoyable.
- Oscar Baechler said...
"Critics decide if a form of entertainment is art by its genre and sub-genre distribution. A medium has to include powerful drama and tragedy to be considered art. Most cartoons are comedic, few are dramatic, and fewer still are tragic. If cartoons can't make a convincing tragedy or drama, they can't be art."
If you look at the Oscars, this bias is incredibly depressing. I did a speech on it in college about how the Oscars needs a "Best Comedy" section to both recognize great comedy and encourage a comedy market aiming above the lowest common denominator. Despite owning a huge chunk of the market, a comedy film hasn't won "Best picture" in about 40 years, not since Woody Allen's "Annie Hall."
- Gabriele_Gabba said...
I think Bob Clampett's cartoons were the best animated. He's a master of creative movement.
I find Tex's cartoon gags great in some of this cartoons, but more often than not its so impersonal that i'm left feeling a bit empty.
I think Chuck was a genius in giving the warner characters the strong contrasting personalities they were ment to have, sure he animated less, but he got me laughing more than the others.
I think Those 3 deserve strong credit and they all influence me.
Informative post John :)
- HemlockMan said...
Other than an "attaboy", what would have been the profit of creating new characters for the studios? Perhaps Tex Avery realized this. (Sometimes, it has to suck to be Steve Ditko or Jack Kirby.)
Who created Droopy? Who created the generic coyote voiced by Daws Butler? Who created the Irish bulldog? Who created George & Junior?
At one point when I was a kid, I got really sick of Chuck Jones' style. It crossed a line where it was just so sweet it was sickening.
- lastangelman said...
Whoa-ho, we've certainly touched a nerve. A large part of the problem today is that instead of embracing and building on the "Clampett" approach of cartoon animation by such studios as Bakshi & Spumco, animation studios totally missed the point during the "animation resurgence", supposedly signaled by Richard Williams work in Who Framed Roger Rabbit?, and instead adopted the most superficial and square, angular styles, characters and stories based on self referential postmodern irony, exploitative TV family values and way too timeworn sitcom situations as an excuse for cartoon humor, and an unhealthy reliance on software as a timesaving/laborsaving device, when it could be used to produce better, funnier, cartoonier pictures and movement.
John K's blog is certainly one of THE best resources to fight this anathema towards proven cartoon principles, but how does one fight uninspired, unenlightened directors, producers, suits, etcetera, set in their Cal-Art, post-hippy,non-anarchic ways? The fantasy, for me, is to find a youngish billionaire with some pull who loves old cartoons, is willing to drop money to start a good independent cartoon studio and distributor, with nothing the best people who know what they're doing, simultaneously starting a school teaching the stuff they leave out at Cal-Arts, and NOT sell either operation out down the road to uncaring bean counters.
This would be the right economic climate, believe it or not, to sell this idea. What this country needs to take its mind off its troubles is not another new mobile phone or portable music player or celebrity meltdown - it needs funny, funny cartoons, and lots of 'em, short, busy, anarchic, in the theaters on teevee and over the internet and in the video store. How patriotic would that be, making people laugh, forget their troubles and buying your cartoons - and merchandise - thus helping the economy?
- diego cumplido said...
HEY, you can talk about cartoon characters on T.V and I agree with you. But the live action series done in the U.S are AMAZING and full of great, entertaining characters. Live action series are a healthy medium, at least on quality standards.
- El Siglo del Ruido said...
I love Tex, i think those cartoons were the ones that impressed me most as a kid, a couple of years ago i was able to get a collection of all his work (thanks to the interblog) and its the funniest set of cartoons ever.
English is not my first language and some of the funniest Tex cartoons didnt even need dialogues.
I understand what you said about the characters but i think thats relative to your definition of the term.
I personally love the black cat (ventriloquist cat, bad luck blackie, the cat that hated people), i love spike, i love the little guy from cellbound and george & junior. I know they didnt have an ongoing series, but it would have ruined it for me if they had.
Its funny how this article made me realize why i always hated the 'human' looking characters in Tex's chartoons (red riding hood).
Well, thanks for this nice blog John, you've teached me more about drawing than anybody else ever.
- Trevor Thompson said...
I think this is the first post I've ever read of yours that didn't have any pictures.
- trevor.
- Rick Roberts said...
"If you look at the Oscars, this bias is incredibly depressing."
I also hate those damn AFI lists, they so dumb I am surprised no real artists don't come out and say how idiotic. A few stupid examples:
Michael Corleone from THE GODFATHER II is considered a villian. Hyman Roth was villian of that movie by trying to kill Michael, turn Frank Pentangeli on him, and manipulate his brother Fredo. Micheal was trying to protect family, the prime motivation of his entire character. Yes he did it to an extreme by going so far as to kill Fredo after his betrayal was exposed but nonetheless, he should be veiewed as the protagonist.
Shrek is listed as the 8th greatest animated film of all time. Do I even need to explain what the hell is wrong with this ? Freaken Shrek is there but what about HEAVY TRAFFIC ? SONG OF THE SOUTH ? FRITZ THE CAT ? TWICE UPON A TIME should be number 10 at least but no, it's FINDING NEMO.
- Shawn said...
Brilliant writing!
When do we get the NEXT chapter?
30 years later...The birth of Spumco!
- Zoran Taylor said...
Someone hates Red Hot Riding Hood? That's just sick! How repressed can ya get??
- pappy d said...
Tex deserves more love. We might never have known just how big the envelope was if he hadn't pushed it so hard. Tex did invent Droopy. He was the only director who had a use for him. The wild contrasts in his animation needed a character who had no contrast....just for contrast!
Block booking used to require exhibitors to buy a whole season of product from a major studio so they could get the "A pictures" featuring the studio's big contract stars who brought in the customers. Thus, they offloaded all the financial risk of production to the theater owners & ensured that there was no way for new studios to get their movies screened. Producers with the majors could literally afford to take creative risks or even leave the artists alone to do their job.
There came a point when Disney realised he had to get into distribution himself or give up.
"The fantasy, for me, is to find a youngish billionaire with some pull who loves old cartoons, is willing to drop money to start a good independent cartoon studio and distributor, with nothing the best people who know what they're doing, simultaneously starting a school teaching the stuff they leave out at Cal-Arts, and NOT sell either operation out down the road to uncaring bean counters."
Can this billionaire also be a gorgeous nymphomaniac?
- lastangelman said...
pappy d said...Can this billionaire also be a gorgeous nymphomaniac?
Ha, Ha! You've been watching John & Katie's Close, But No Cigar video for Weird Al Yankovic in constant rotation on your iTouch, no (Julie ...[is]a world famous billionaire bikini supermodel astrophysicist)? Seriously ... NO! We'd never get any work done. Save that for another fantasy. Besides, one of her earlobes is way too big!
- Deniseletter said...
This post worth a reread, it has many interesting points,this time I can comment one of them:
Everywere is not the same,I believed the opposite,animator was number 1 and illustrador number 2.But after all you clear it!!.Where I live there just a lot of job demands are for flash animators and web designers and developers and something is amazing for me,that some didn't know the meaning of the word illustrator,is changed for painter or graphic designer.
- Iritscen said...
At the risk of depressing everybody further, what about the possibility that, post-WWII, people gradually lost the ability to enjoy carefree cartoons? Would a modern audience enjoy a Daffy Duck short before the newest blockbuster? Or might we be too jaded today to enjoy something that doesn't use modern sarcasm or that isn't self-consciously self-referential? Might we be embarrassed at something so brightly colored?
Before that, cartoons were a joyous novelty, but now there's something seen as being wrong with you if you want to watch them and you're an adult. Outside the niches of self-support that geeks form, and the allowances made for nostalgic indulgences, comedic cartoons really aren't considered acceptable viewing for anyone over 12.
It's probably significant that cartoons used to be shown in the theater, so, while adults would enjoy them, they were also being placed in front of them -- but today, you have to seek out cartoons by turning to a cartoon channel or buying a cartoon DVD; is it possible that adults were never comfortable with actively seeking out cartoons, and thus that cartoon-makers lost their grown-up audience when they lost the captive "silver screen" demographic? (And, as I asked at the beginning, would people be too jaded today to even enjoy theatrical shorts if they made a return?)
Deprived of that audience, today's cartoons either talk down to the kids they are entirely aimed at, or they are full of self-important super-powered drama coupled with teenage angst, for the teenagers they are entirely aimed at.
So, depending on your perspective, the problem either lies with the "grown-up complex" that causes society to view with suspicion any adult who likes cartoons, or on the makers of cartoons for not using the medium to tell truly serious stories aimed at adults, addressing the issues of our modern world.
- Roberto González said...
Tex created Droopy, the Wolf, Screwball Squirrel, George and Junior and all of them have more personality than most of the recent characters in animated features. Yes, I know George and Junior were a stereotypical duo based on "Of Mice and Men", but still.
- Rick Roberts said...
What I noticed Tex did was take a human trait then put it in one of his stock of character designs. The only one he didn't do this to was Droopy.
- Roberto González said...
I think I should elaborate a little more on my previous post.
I'd generally agree that Tex was more concerned about the gags than he was about character. But the characters did show some personality, even though that wasn't what carried the cartoon.
Like John Canemaker says in this book he showed hints of personality traits like when he didn't choose Droopy for the role of Spike's tormentor in Rock-A-Bye Bear, cause that would have been out of character for him.
I perfectly believe that Tex could create Bugs Bunny in A Wild Hare, even though he didn't manage to create another character that worked for the general audiences. Maybe Screwball Squirrel would have been more popular than Bugs if that character had been created first. Also, what helped Bugs Bunny and most Looney Tunes is that there were different people working in the characters and there are lots of cartoons featuring them. There is a lot less Droopy cartoons than Bugs Bunny cartoons. Warner Bros was more character driven, so probably the personalities of Droopy and the Wolf would have been more developed by the other directors if he had created them while working in Warner.
Also characters like Mickey Mouse, Mighty Mouse or Woody Woodpecker don't have very distinct personalites and they are all more popular than Droopy. How do you explain that?
Yep, the personality of Droopy does change a little bit from one cartoon to another. He seems even more naive than usual in Out-Foxed, and he didn't do much in cartoons like Chump Champ, but I'd generally agree with Rick Robert's definition of the character.
- a n t s said...
- This comment has been removed by the author.
- by Bit said...
IMHO I would venture to say that the entire motion picture entertainment spectrum, including cartoons, was drastically altered by the introduction of TV in the 40s. By the 50s TV had basically up-ended Hollywood and America had completely changed its entertainment consumption habits. Just re-read the chapter on Comics in Marshall McLuhan's The Medium Is The Message. BTW in the mid-50s newspaper comics suffered the same fate as cartoons and also became stale and useless.
I believe there is room for animation and funny and great cartoons, but my money is on the Internet, not Hollywood. The trick is finding ways to finance the good stuff.
- mike.freed said...
These are all excellent points in this debate and I think the cartoon medium that has suffered the most is the gag cartoon. It's absolute junk in the newspapers, nobody has filled the void left by Charles Schultz, Bill Watterson and Gary Larson.
- pauljs75 said...
The funny thing is, the principles developing in about a decade part strongly parallels contemporary CGI and 3D modeling and animation. And like the older cartoon production, it too is running into the pitfalls of being popular. There is a lot of money and talent involved in modern productions which is misguided or wasted. I've seen some recent 3D movies or made-for-TV (or more likely made-for-DVD, but put on TV for sake of not having reruns) CGI animation that is gawd-awful and poorly scripted. Some things they do is just because they can, to the point of being cliche, not because it does much to enhance the animation or do something unique and funny. In such cases, it makes me half-embarrased that it's a field I want to try getting into. Even in the relatively new fields related to digital media and production, there's a hell of a lot that can be learned from the history of "old-school" animation. I think it would be wise if there were a class or two on this kind of stuff, even if all the studens ever plan on doing is working with is 3D/CGI.
- Unlimited 99 said...
a friend told me to go back through your old post for this one. glad I did. I have a few ex-disney teachers and it's maddening! We learn the theory of animation instead of the practice of animation. I watch as stiff disneyesque work is praised versus the greater more inventive cartoony works. I don't care if the bears head is supposed to have 3 ruffles or four, who cares if he moves like a real bear, tell me how funny this animation flows across the screen! "sigh" why did I go to school to have what comes naturally beaten out of me and replaced for what is...efficient? I try to get people to understand these same points you have brought up, but most are too mesmerized by the almighty disney and dollar to care about truly what animation and cartoons are about and suffering from. I LOVE Tex Avery, he is my idol, and you John...you are a prophet!
- J C Roberts said...
That really sums up the history of where the cartoon industry has been, but I wonder where it's yet to go. Not to spread the pessimism, but is there even a possible outlet for quality, inventive cartoons in the "mainstream business" anymore.
This is a vastly different era in terms of the entertaiment industry. People will always want entertainment, and there will always be people with the gift of being able to provide it, but the lessons learned and trends and practices on the business side has dug such deep roots that it's strangling itself to death. The purse strings will always be held by business minds, and they will always follow success formulas until their wells run dry, while hoping that before that time comes a new bandwagon will be lined up to hop on. Every rare now and then a wild horse will run through a given field and somehow get through their careful screening process and start up one of those bandwagons, only to be taken out and shot for being a stubborn, uncontrollable wild horse (or perhaps a wild "Mr" Horse). "Thanks for the new revenue stream and influential style, but that'll be just about enough original ideas out of you! We'll just milk this for another ten years" So then, should creators go directly to their audience online?
Sure, the internet and people using Flash or one of the many flavors of Toon Boom could flood the market with their productions on all levels of the quality scale, but does anyone have the time to find all the things they would enjoy in a sea of millions all saying "Look! Me too!"?
It's never been easier to get artistic creations into the hands of anyone who might want it, but there's no filter, and it's never been harder to get noticed when everyone with a connected computer can compete in the same playing field.
My blog has all the marketing muscle of putting fliers on the windshields of every car in a junk yard, I could pour tons of time and effort into it, but I won't make a dime, and the only people following it so far are 2 people I already know and have a relationship with. That's pretty compartmentalized for a success formula. Everybody could also draw a funny cartoon, put it in a bottle, and send it off on the ocean. Chances are as many people will see that as the web clip.
And don't even bring up the idea of making a living off it. "Hey! I just got 35 cents for hosting that banner ad! I can finally pull the trigger on buying that gumball I've had my eye on!" There's no new revenue streams opening up on the internet that aren't the same ones already mentioned above, and that brings us back to dough (for them, no "dough pay me"). Basically, that makes the web a good place to show your work to people as long as you can pull off the "labor of love" thing inyour spare time. I hate to burst any bubbles, but no one is going to keep anybody afloat making web cartoons. Please feel free to prove me wrong on that one, though, and good luck doing it.
This post expertly breaks down how the animation industry fell into a hole, but I wish it was possible to write as accuate a one about how we could pull it back out. It's just a different landscape now. The death of the theatrical short, the rise and fall and rinse and repeat of the TV grind mill, the bottom line bean counters afraid to rock any boat that's still leaking money.
As far as coming up with star characters, the business minds have got that one sewn up tight as well. Could you imaging trying to get corporate approval for a character that would bury another character alive, then shuffle off singing a little song about it just for the sake of "heckling that character"? To this day people still loves Bugs Bunny, but you'd never be able to get him off the ground today.
It looks like it's the labor of love route for me...


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Samples of Statements by Previous Awardees of Career Development Grants for Postdoctoral Women
–I am requesting funds to travel to a laboratory at the Pasteur Institute in Paris, France. Laboratory time will be used to learn techniques involved in examining the interaction of fungal cells with the blood-brain barrier. These techniques will assist me in determining whether morphological changes inhibit a cell penetration of the blood-brain barrier and will allow me to clarify my future scientific focus.
–I am requesting registration and travel expenses to attend the Cold Spring Harbor meeting on Microbial Pathogenesis and Host Response. The organizers of this biennial meeting have arranged a particularly impressive panel of speakers and session chairs to lead discussions on topics relevant to my current interests. In addition to the talks and seminars, I am looking forward to presenting my current work and discussing my research projects with other meeting attendees.
–I am requesting the fellowship to defray costs associated with attendance at a summer course on Microbial Oceanography at the University of Hawaii-Manoa. This course is essential to my postdoctoral work and professional development. It will expose me to a wide array of techniques and ways of thinking that are fundamental to conducting research in my field. In addition, attending this course would enable me to more rapidly build a network of colleagues, thus helping me establish myself in this field.


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In religious terms, Easter is a Christian festival and holiday celebration of the resurrection of Jesus Christ on the third day after his crucifixion at Calvary as described in the New Testament.
This weekend is Easter and for the little ones, the Easter Bunny hides eggs so they can pick them up at a community event, a church event or a family event. Photos are always taken and they are so much fun to look at 20 years down the road, everyone dressed in their church finery and their slick hair.
In religious terms, Easter is a Christian festival and holiday celebration of the resurrection of Jesus Christ on the third day after his crucifixion at Calvary as described in the New Testament. Easter is the culmination of the Passion of Christ, preceded by Lent, a 40-day period of fasting and penance. The last week of Lent is called Holy Week, and it includes Maundy Thursday, commemorating the Last Supper, and Good Friday, commemorating the crucifixion and death of Jesus Christ.
Easter is one of the holidays that moves around. Everyone knows I can't keep up with this, I just know when the next year's calendar comes out and there is Easter on that Sunday. It can be an early Easter, which comes in the last of March, or late, which occurs in April. I am always surprised, because it has something to do with the following of the sun.
I have trouble keeping up with myself, let alone with the alignment of the sun. Messing with the calendar is another thing I can't do, so I just look at the new calendar when it comes out the last of December. Are there others out there who think the same way as I do?
When Melissa was little, I began a tradition of making her a basket every year. I wouldn't buy her one of the ready-made baskets from the factory. I would make it from the ground up, and I enjoyed it much better. I would fill the plastic eggs with candy or jelly beans and always have her a large chocolate egg. She looked forward to it each year. I think I stopped when she was 14 or 15 years of age.
Easter is also a great tradition to be with the family. Whether it is going to church, going to a dinner with the family or going to a grandmother's or grandfather's for an Easter gathering. Easter is a family event and believe me there are a great deal of things to begin doing to make it a tradition of some kind. Start your own tradition and everyone will be pleased.
When my brother and I were very young and growing up, we did all of the same things that everyone else did. We got new spring clothes to wear to Sunday School and church on Easter and attended the Easter egg hunts around the community. We also went down to our grandmother's in DeWitt and hid Easter eggs around their home with all of our cousins. We always enjoyed that because it was always fun with them and we looked forward to that event.
My mother had three brothers and four sisters. They would bring their children down there and boy did we have a lot of fun. My grandfather and grandmother didn't have much money but they had a lot of love and a lot of food. You just can't imagine the food that was down there during the holidays. My favorite down there was and still is my Aunt Shirley's two-layered coconut cake.
Another thing about Easter is the food and with a large gathering there is ton of food to be had. Those grandmothers can cook without a cookbook, measuring cup and measuring spoons. I am sure you have seen this. My Grandmother Austin never had them in her kitchen, because there were a number of grandchildren and great-grandchildren who wanted recipes, and they couldn't be found.


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Strictly Business: The Dale Carnegie Immersion Seminar (Course Runs 3 Conse...
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Look at the most successful people in business. They are confident and inspiring. They are empowered to achieve their goals and they are enthusiastic about getting the job done - they are engaged in their work and their life. Join us for this special 3 day business immersion seminar and take that important first step toward joining the ranks of the world's most successful engaged business leaders and critical thinkers.
This unique three-day critical thinking & problem solving seminar will help you master the skills you need to excel in today's competitive workplace. You'll learn to handle people more professionally and keep pace with fast-changing workplace conditions. After you complete our critical thinking training you'll be equipped to perform as a persuasive communicator, creative workplace problem solver and intelligent risk-taker. The program emphasizes the principles of success and shows you how to put them into action every day.
MSW ASR Research performed an independent study and found Dale Carnegie Course graduates are more likely to be engaged than the general business population.


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Spring has already sprung for many former Waynesboro Area Senior High School athletes now competing in college sports.
Spring has already sprung for many former Waynesboro Area Senior High School athletes now competing in college sports.
Some places are warmer than others, and the place to be for baseball and softball is the sunny South, which is where Megan Baker (Class of 2012) and the Mount St. Mary's softball team is now.
Taryn Ashway, a senior on the St. Joseph's University softball team, earned a pair of wins in the Hawks' first two games of the seasona nd was 3-for-6 at the plate on the day against St. John's (4-1) and Georgetown (3-1) at the Pirate Clash at East Carolina University.
In the opener against the Red Storm, St. John's took a 1-0 lead in the bottom of the first but Ashway shut the opposing batters down from there. Allowing just three hits over five innings, the Hawks' allowed her team to rally and take the lead in the bottom of the third.
Against Georgetown, Ashway (Class of 2009) came in for starting pitcher Liz Mendez in the fifth and picked up her second win of the day, allowing two hits over the final three innings while striking out five.
Ashway allowed one run in the bottom of the sixth during a 3-1 win over Georgetown the next day and finished with a complete-game win. She struck out six while allowing just three hits.
This past weekend, St. Joseph's canceled its games at the Coastal Carolina Kickin' Chicken Classic due to severe rain predicted for the weekend.
The Hawks (3-0-1) return to action at the University of South Florida Under Armour Invitational on March 1.
Liz Breed, a junior on the University of Kentucky women's golf team, started the spring season at the Lady Puerto Rico Classic.
The 2010 WASHS graduate tallied a team-best four birdies, all on the back nine to finish 5-over-par 77 on the final day of the classic. She was also 12-over for the 54 holes and was tied for 28th on the leaderboard.
As a team, the Wildcats finished eighth in the three-day tournament, shooting a 908. Another Southeastern Conference team, Alabama, won the tournament with an 871. Arkansas was second.
In the fall, Breed helped Kentucky to a school record round on the final day of the Alamo Invitational at San Antonio, Texas. The Wildcats carded a 6-under-par 282 to finish sixth in the 15-team field. Breed, who shot a three-day total of 221 (74-77-70) and tied for 30th in the individual scoreboard, shot a 2-under-par 70 on the day.
The Wildcats began the fall campaign by winning the Old Waverly Bulldog Invitational as Breed shot an even par round on the final day and finished in 12th place at 6-over-par 222 for the invitational.
Last summer, Breed qualified for the 2012 U.S. Women's Amateur held in Cleveland, Aug. 6-12. She placed fifth in the qualifier held at Country Club of York with a 73.
Breed also was one of two UK golfers to compete in the Pure Silk Invitational in Columbus, Ohio and played in the Women's Western Amateur Championship.
The Wildcats next compete in the Insperity Lady Jaguar Intercollegiate at Augusta, Ga., March 15-17.
Derek Baker, a senior on the Indiana University of Pennsvylania men's golf team, begins the spring season on March 23 at the 5th annual St. James Plantation Invitational at Southport, N.C.
Baker, a 2009 high school graduate, helped the Crimson Hawks win their sixth consecutive PSAC championship at Hershey Links back in October. He finished in a tie for 24th with a 15-over 159.
During the fall, Baker shot a one-under 143 to tie for second place at the Senator Shootout hosted by Davis & Elkins in IUP's first action of the season. Baker was selected PSAC Golfer of the Week for his performance as his team won the Shootout. It was Baker's best tournament fiish since a seven-under during his sophomore year in the fall of 2010.
Paige Fleagle is a senior javelin thrower on the East Stroudsburg University women's track and field team.
ESU will compete at the Washington & Lee Invitational on March 22 in Lexington, Va.
Fleagle's best throw in 2012 was 121 feet at Bloomsburg on April 14. Her career best was 121-1 on April 9, 2011 at Millersville.
Mallory Wishard, a senior on the Davis & Elkins softball team, was 1-for-2 with an RBI double as the Senators opened the 2013 season with a 2-1 win against Winston-Salem State on Sunday in the Catabwa Invitational.
Four of Davis & Elkins' first six games were cancelled and two others postponed.
The Senators lost to Shippensburg later on Sunday, 16-1.
Davis & Elkins swept Shaw on Monday, 10-1 and 8-6 and plays at Virginia State Friday in a doubleheader.
Megan Baker began her college softball career at Mount St. Mary's on Friday at the Jacksonville University Tournament in Jacksonville, Fla.
Baker, a four-year starter at Waynesboro, walked and scored in the top of the seventh inning to help cut a 4-0 deficit to 4-2 against Delaware.
Mount St. Mary's lost to the Blue Hens, 5-4, in the first game of the tournament. The Mount lost to South Alabama later in the day, 12-0.
Baker, a left fielder, reached base three times against Delaware.
On Saturday, Baker was 1-for-3 and also walked in a 5-3 loss to Seton Hall.
The Mountaineers were scheduled to play St. Bonaventure this morning and a doubleheader against Jacksonville later today. The Mount's Florida trip continues Wednesday with a twinbill against North Florida, followed by five games at the University of Florida Tournament in Gainesville, March 1-3.
Cody Bumbaugh is a sophomore catcher on the Shepherd University baseball team.
As a freshman last year, Bumbaugh was a teammate with Nathan Minnich (Class of 2008), who was drafted by the Boston Red Sox in the Major League Draft in June 2012.
Bumbaugh appeared in 14 games last season with seven starts. He recorded a .965 fielding percentage in 57 attempts.


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Representatives of several area businesses and organizations will leave for Haiti Friday on a humanitarian mission to provide children with a home.
Representatives of several area businesses and organizations will leave for Haiti Friday on a humanitarian mission to provide children with a home. Through a partnership with local nonprofit InterVol, Rochester General Health System and Constellation Brands, a team of 14 people plan to build three bunk-houses and a kitchen/dining house to provide shelter and comfort to 48 orphans.
The project, called the Home of Hope Orphanage Bunk-House Build, began days after the 2010, 7.0-magnitude earthquake that devastated Haiti. Constellation Brands, InterVol and the Rochester General Health System committed resources and medical supplies for a collaborative humanitarian mission. The team delivered medical supplies along with a group of doctors and nurses to help people living in Leogane, Haiti.
The mission has continued over the past three years responding to domestic and international humanitarian needs and committed itself to the same area in Haiti, according to a release.
In January 2013, the team connected with Delaney Bay, a foundation providing assistance to people and organizations needing support to improve quality of life.
As for the latest part of the mission to fund the bunk houses and home, InterVol and Constellation Brands surpassed their fundraising goal by raising more than $60,000. This project will provide children with shelter from Haiti's harsh elements in addition to providing work to local Haitians during the prefabrication process of the bunk-houses.
The flight leaves for Haiti Friday at 8:30 a.m. via US Airports Hanger 7 at Greater Rochester International Airport, 1265 Scottsville Road.
For more information on the Home of Hope Orphanage Bunk-House Build, visit http://bit.ly/1khUiDJ


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Join us May 17th at 11am at the CSD Community Center - to help the daughter of Valerie. http://www.gofundme.com/8iifuw?preview=1
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Club seeks to provide clean water for developing countries.
A project designed to provide clean water for developing countries is in its second year at the University of Minnesota, Crookston.
The Clean Water for Everyone Dinner, which helps to fund this UMC Enactus project, is scheduled for Tuesday, Feb. 1 at 6 p.m. in Bede Ballroom, Sargeant Student Center. Tickets for the dinner are $25 and may be purchased by contacting a member of Enactus or the Business Department office at 281-8176.
The evening will include musical performances by student talent and the dinner features Greek Chicken served on a bed of wild rice provided by Sodexo Dining Services. This year's Enactus team will debut their new donor levels and recognize those in the Crookston area who helped make providing clean water a reality.
The Clean Water for Everyone initiative was established to help provide access to clean water in third world countries. The project has already helped people access clean water in the countries of Nepal and Nigeria. In Nepal, SIFE is funding a water pump station for a boarding school. The system pumps water out of a river, filters it, and then supplies the clean water to the school. Proceeds from the 2012 dinner helped fund the two bore holes near Amai College with a second at the Amai Nursery and Primary school in Ajangbadi, Ojo, local government of Nigeria.
The mission of UMC Enactus, formerly Students in Free Enterprise (SIFE), is to educate, inspire, and reinvest in our community while expanding our minds in the ever changing global business world. The global non-profit organization active in more than 40 countries, encourages students to work in partnership with business and higher education where they are challenged to develop community outreach projects including: free market economics, personal success skills, entrepreneurship, financial literacy, business ethics, sustainability, and environmental sustainability.To learn more about Enactus, visit enactus.org/who-we-are/our-story.
The UMC Enactus team is advised by Sam Walton Fellows Kenneth Johnson, instructor in the Business Department and Courtney Bergman, lecturer in the Business Department.


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Just in time for Mother's Day, the Macomb Food Co-op will hold a bake sale fundraiser this week. The bake sale will be held from 11:30 a.m. to 5:30 p.m. Thursday at Hooked on U, 115 S. Side Square.
A variety of homemade baked goods, from cookies to muffins to breads, will be available. Pick up something sweet for mom and support the Macomb Food Co-op.


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CHICO, Calif. — Help is available for ranchers trying to survive California's historic drought, but each decision a producer makes brings consequences.
So advised Wally Roney, a cow-calf operator here whose ranch survived the state's last catastrophic drought in the mid-1970s and whose family survived a similar dry spell in the 1920s.
Roney made it through the drought in 1976 and '77 by getting a low-interest loan from the USDA's Farm Service Agency to purchase forage, only because there weren't programs yet to defer income from cattle sell-offs for tax purchases, he said.
However, even a low-interest loan is "a short-term fix with a long-term loss, and now you've got to worry about paying that back," Roney told other ranchers at a recent workshop on drought management.
Established in the 1850s, the Roney Land and Cattle Co. encompasses about 150 square miles in Butte and Tehama counties. Roney, who was the Tehama County Cattlemen's Association's Man of the Year in 2013, is perhaps best known among ranchers for advocating for private property rights.
He fought a rangeland reform proposal by then-U.S. Interior Secretary Bruce Babbitt in the 1990s and a so-called "safe harbor agreement" with state resource agencies in 2010 that would have given area ranchers relief from Endangered Species Act violations if they made habitat improvements on their land.
A statewide University of California survey last month found that more than one-third of ranchers expect devastating impacts to their operations if drought conditions persist. Many ranchers have been trimming their herds to cut down on feed costs.
Roney said his family's ranch survived drought in 1924 by selling off its cattle and marketing in sheep, which didn't need as much drinking water. But it took the ranch decades to re-establish a genetic identity for its cattle, which was partly why the ranch didn't sell its herd again in the 1970s, he said.
With the loss of genetics and the tax liability for the income from the cattle, "we were scared we wouldn't be able to get back into the business," he said.
He said the ranch initially was turned down for loans by three banks.
"They said, 'You guys are so broke you'll never be able to pay it back,'" Roney said. "So we were on the edge of not qualifying for the low-interest financing that was available to us.
"Then we were faced back with the choice of selling cows," he said. "So back to Sacramento I went and kept working with them, and pretty soon I got the loan."
More programs are available today to help ranchers, including the FSA's Noninsured Crop Disaster Assistance Program, which helps producers when low yields or loss of inventory occur because of a natural disaster.
However, many ranchers have seen delays in drought-related NAP payments. Roney said he hasn't yet been compensated for losses from 2012.
"Yet when I make out a budget, I have to put down what I'm going to pay for that insurance with no guarantees I'm going to get it," he said. "I buy insurance with the assumption that in a drought, I'm going to get something."
Roney said there were various factors that pushed ranchers out of business in the mid-1970s drought. Some sold all their cattle and couldn't get back into the business, others tried to feed their herds and couldn't sustain the expense and others had difficulty paying back loans and taxes, he said.
UC drought workshop presentations on video: http://sfrec.ucanr.edu/Outreach_-_Education/Workshops_and__Field_Days/


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MIDLAND — The Post 3 EUP Travelers finished runners-up at the Midland Baseball Tournament over the weekend.
The Travelers compiled a 4-0 pool play record and advanced to the championship game in the Cliff Harris Division of the tourney.
In the championship game, the Travelers fell 9-6 against Bay City Sunday.
"We don't have much big game experience, and this will only make us more prepared for the zone and state tournament," EUP coach Billy Mitchell said. "Offensively our bats finally came alive like I have been waiting for. We put on a show at the plate this weekend. We finished with 57 hits, 10 doubles, two triples and six home runs. Two of the home runs were grand slams, and one was a walk-off."
The Travelers outhit Bay City 15-9, but two costly errors hurt the EUPs chances as they allowed four unearned runs.
Devon Dear was 3-for-4, with a home run and two RBIs for the Travelers. Tyler Kirkland added three hits, while Michael James, Frank Bailey and Dakota Zuhlke had two hits each.
Jake Harrison started on the mound and gave up nine runs on nine hits. Jagger McCudden pitched one inning and did not allow any hits or runs.
On Saturday, the Travelers beat Davidson 17-7 and clipped Gladwin 15-11.
The Travelers scored three runs in the bottom of the sixth inning to tie the game 8-8. After giving up three runs in the top of the seventh, the Travelers rallied again and scored seven in the bottom of the seventh to win.
Devon Dear pounded a grand slam to break up a 11-11 tie, giving the Travelers the win in walk-off fashion.
"He absolutely mashed that ball," Mitchell said. "In the 14 years I've been coaching it is probably the longest home run I have ever seen."
Kolbe Peller, Lou Krupa and James had three hits each.
Lou Krupa, Bailey and Brady VanSloten shared pitching duties.
VanSloten took the win, working the final three innings and allowing two runs on five hits, with four strikeouts.
Against Davidson, Kirkland, Peller, James and Lou Krupa had two hits each. Bailey, Kirkland and Krupa had home runs. Krupa's homer was a grand slam.
McCudden started on the mound and gave up seven runs over three innings. Bailey closed, and did not allow any hits or runs in one inning.
On Friday, the Travelers opened the tournament with a 7-2 win over Mickeys and a 2-1 win over Bay City.
Kirkland, Peller and Lou Krupa had two hits each for the EUP, which compiled 11 hits.
Krupa was 2-for-3 and hit a home run, while Kirkland had a double and two RBIs, and Dear hit a triple. Harrison had a single and two RBIs.
Kirkland picked up the mound win, allowing just two runs on five hits over seven innings. Kirkland struck out nine and did not issue any walks.
The Travelers also beat Bay City 1-0. Andrew Krupa pitched six scoreless innings and earned the win. Kirkland notched the save, working a 1-2-3 seventh inning and striking out two.
James and Kirkland had two hits each. James had a double and RBI, while VanSloten, Peller, Lou Krupa and Harrison also had hits.
The Travelers are scheduled to visit the Soo Black Sox Tuesday.


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Bainbridge College JSON-LD
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Find info concerning Bainbridge College JSON-LD, and registering for elective seminars. Which college degrees give you the best chances of finding employment after graduation? Qualifications for management positions vary considerably. Learn more about accredited business degree programs, and certificate courses that can lead to an in-house promotion. Concentrating on Bainbridge College JSON-LD, for example, may give you an advantage in job recruiting on-campus. Check with the business administration department for course registration deadlines, and computer programming program requirements. Please use the form above to request admissions info for Bainbridge College.
Businesses of all types have a profound need for talented software specialists. Programmers often start out with a bachelor's degree in computer science or software engineering, followed by intensive on-the-job training. Computer science (CS) degree programs may cover diverse programming languages, depending on the application involved. For example, the C# language combines the robustness of C++ with the advanced features of JAVA programming. The C# language is most easily compiled within Visual Studio IDE, a rapid-development platform. If you are writing a web-based application in ASP.NET, you will be required to code in C# or Visual Basic for the backend.
Software developers also need skills related to the industry in which they work. Developers working in a bank, for example, should have knowledge of finance so that they can understand a bank's computing needs. On the other hand, the JAVA language may be used to develop enterprise-level applications and accelerate the design of video games or iOS/Android mobile apps. By way of comparison, some large websites that make use of the Python language include Pinterest and Instagram. In fact, many CS students gain hands-on experience in software development by completing a business internship at a software company while still in college. The median annual wage for computer programmers was $90,530 in May 2017. Beyond degree major requirements within the department, you may consider Cayuga CC dropping classes as a complementary elective.


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Indeed.Ben wrote:Just do it.
Serious meditation is the hardest work in Samsara.
So the mind plays all the tricks and makes all the possible excuse to avoid it.
But there really is no short cut or substitute for meditation.
I have been meditating twice a day for 2 years and half and still, time to time, I have to clench my teeth and fists to sit and meditate.
Aversion toward meditation is very common and sooner or later, you need to confront it.
The mind plays trick on you over and over in order to remain in Samsara and quench its desire on various formations/objects.
If you want to progress toward freedom, you really need to confront its laziness and conformity


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From Heraldry of the World
Revision as of 14:54, 9 December 2017 by Knorrepoes (Talk | contribs) (Text replacement - "[[Category:Hungarian" to "[[File:hungary.jpg|50 px|link=Hungary]][[Category:Hungarian")
|Heraldry of the World
A világ heraldikája
|Hungarian heraldry portal
Magyar heraldika
Province (county) : Győr-Moson-Sopron
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Over the years, Al Mahler, owner of Big Al's Seafood, 1377 W. Tunnel Blvd., Houma, has steadily recruited new employees to help with the daily upkeep and functioning of his restaurant.
Over the years, Al Mahler, owner of Big Al's Seafood, 1377 W. Tunnel Blvd., Houma, has steadily recruited new employees to help with the daily upkeep and functioning of his restaurant.
Before this year is out, Mahler is wondering in what category of the federal Patient Protection and Affordable Care Act he is going to be classified in.
"In the restaurant business, I have over 50 employees but not 50 full-time employees," Mahler said. "Especially around crawfish season, I may use more people, mainly waitresses, and if I am correct, I don't think it will affect me. But I will have to further look into it."
Last June, the U.S. Supreme Court ruled in favor of the constitutionality of the Patient Protection and Affordable Care Act, mandating that every working American be able to obtain affordable health insurance through his or her employer by 2014 if the business has 50 or more employees working 30 or more hours. Violators could potentially pay a penalty of up to $3,000 per worker.
Renee Amar, Louisiana state director for the National Federation of Independent Business, said she has already seen some small businesses reacting because they know offering health insurance is one of the biggest expenses they will have to deal with.
"They have some business owners that don't make a lot of money," she said. "We've had specifically some restaurant owners taking a look at cutting back employee hours and have had some consider not hiring any new employees to dodge the 50-mark threshold. Many restaurants are having to weigh their options right now. It's really not a great recipe for growth."
In considering their options, some restaurant operators in Houma and Thibodaux said they will not have to worry about the law.
Amanda Acosta, manager of Boudreau & Thibodeau's Cajun Cookin', 5602 Main St., Houma, said her place won't be affected.
"We probably are more staffed than we have ever been. We have about 30 employees now, and we are still hiring people," she said. "I don't think we will ever need 50 people. We are too small for that."
Same goes for the Foundry on the Bayou restaurant and bar, 715 W. First St., Thibodaux.
Kitchen manager David Matherne said most of their employees are college students who work part-time.
"I am glad we aren't going to get hurt. We have around 25 employees, and the majority of them are part-time, working 15 to 20 hours a week," he said.
Matherne said he is still curious about how the health care policy will play out and plans to have discussions about it with the owner of the Foundry to make sure the business is in compliance for the coming year.
Staff Writer Sable LeFrere can be reached at 985-857-2204 or at firstname.lastname@example.com.


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Lapasa Men's Shirt
Published by Elsbeth van Paridon
I, Elsbeth van Paridon, am a Sinologist and run-of-the-mill fashion aficionada. After tackling Beijing for some six years and living in Hong Kong for a bit, I currently find myself in the Europe-based throes and woes of the dragon that is a degree in Journalism. 我,伊丽莎白,是一名汉学家和时尚爱好者。在北京努力地生活了六年之后,我短暂地转战到了香港,现在返回了欧洲的我正在攻读新闻学学位的征程上努力奋斗着。 Perpetually in pursuit of the greater good that is "China Fashion", I set up Temper Magazine to help promote the dynamite dynamic fashion scene sprouting within Beijing, Shanghai and China overall. Catering to anybody and everybody who reads English and/or Chinese, Temper Magazine covers all the basics and bases. From China's street style scenery to its budding photographers and internationally renowned designers: We present one hot-hip-happening current collective weaving The New "Made in China" tag. 我创建的双语时尚杂志Temper Magazine,宣传介绍在北京、上海及全中国的有关中国时尚的最新前沿动态,关注并深度挖掘"中国时尚"内涵。迎合中外读者,涵盖时尚基础。从街头风格,到新秀摄影师,到国际知名设计师:Temper Magazine迅速捕捉并记录着这场炙手可热的新"中国制造"风潮。 The term "Made in China" is undergoing the ultimate 21st Century makeover. Escorted by the increasingly strong influence of a new thinking among China's younger generations, regarding individuality and the expression thereof, the fashion scene in the Middle Kingdom is exploding. And stretches far beyond what meets the eye. It's appliqué, one might say. "中国制造"的定义正在经历着一场21世纪终极改造。在中国年轻一代人的个性风格及表达的强烈影响下,中国时尚界引发的这场时尚大爆炸,触及社会的各个层面,其深度、规模及影响力早已超出了我们的所见范围。 View all posts by Elsbeth van Paridon


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Two La Plata County residents have died from apparent self-inflicted gunshot wounds in separate incidents.
The first was reported about 4:30 p.m. Wednesday in the 500 block of Cox Canyon Road, a remote location near the New Mexico border west of U.S. Highway 550, said Dan Bender, spokesman with the La Plata County Sheriffs Office.
The victim was identified as Susan Hutchings, 59.
She was found at her home with a gun nearby. No foul play is suspected.
The second was reported shortly before 8:30 a.m. Thursday in an apartment on County Road 234, just north of Elmores Corner at U.S. Highway 160 and Colorado Highway 172.
The victim was identified as Joel Eads, 30.
No foul play is suspected, Bender said.
Autopsies are pending in both cases, he said.


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A Blog for Blogger
By Ravi Singh on February 22, 2018 0
Founder of Ravisinghblog.in. A passionate and motivated blogger who loves to travel and help the community. Follow me: Website / Twitter / Facebook
Hi , I am Ravi from Pune, India I am a software Engineer by profession.I love to write on varieties of topic like SEO, politics, sport, internet Read More…
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This bell tower takes its name from the fact that it was designed by the great artist Giotto. It rises, slender and sheer, to the right of the cathedral. It is clad in polychrome marble. Its plan is square and it is reinforced at the corners by octagonal buttresses. It stands 84.7 m. tall.
Giotto first began work in 1334. By the time the artist died, he had completed only the lower order, with its distinctive reliefs set in hexagonal panels. Work continued under the supervision of Andrea Pisano and was completed in 1359 under Francesco Talenti who was responsible for the top three floors, which are marked by broad gabled twin- and three-light mullioned windows. These lighten the massive structure, which terminates in a high crowing cornice.
The sculptures, reliefs and statues are an integral part of the structure and not mere decorative elements
For any information:
Campanile di Giotto
Piazza Duomo
Tel. 055 2302885 (Opera del Duomo)
Web www.operaduomo.firenze.it/
Open 8.30 19.30;
Admission: € 6.00


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The Office of Student Financial Aid provides undergraduate and graduate students with resources about types of financial aid and student employment.
FAFSA School Code: 003863
Questions or for more information, contact us.
Learn about us
Más sobre nosotros
Navigating Checkmarq
Call us at (414) 288-4000* or send us your questions. We are open 8 a.m. to 4:30 p.m. Monday - Friday.
Zilber Hall
1250 W. Wisconsin Ave
*Students calling for information about their own records will need their MUID number and a four-digit number, referred to as Marquette Central Access Number (MCAN), now available in their CheckMarq account. More about the MCAN.