Joni Mitchell Sings an Achingly Pretty Version of “Both Sides Now” on the Mama Cass TV Show (1969)

in Music, Television, Video - Arts & Culture | June 19th, 2017

“Records can be a bad trip. The audi­ence can play your mis­takes over and over. In a tele­vi­sion spe­cial they see you once and you work hard to make sure they’re see­ing you at your best.” 

—Mama Cass Elliot, The Argus

It’s hard to imag­ine any­one blessed with Mama Cass’ gold­en pipes being embar­rassed by a record­ed per­for­mance. A live gig, yes, though, celebri­ties of her era were sub­ject­ed to far few­er wit­ness­es.

The Inter­net was an undream­able lit­tle dream in 1969, when the sole episode of The Mama Cass Tele­vi­sion Show aired. The for­mer singer of the Mamas and the Papas died five years lat­er, pre­sum­ably unaware that future gen­er­a­tions would have knowl­edge of, let alone access to, her failed pilot.

She may have described her vari­ety show as “low key” to the Fre­mont, Cal­i­for­nia Argus, but the guest list was padded with high wattage friends, includ­ing come­di­an Bud­dy Hack­ett, and singers Mary Tra­vers and John Sebas­t­ian. Joni Mitchell, above, deliv­ered an above-reproach per­for­mance of “Both Sides Now.”

Lat­er, Mitchell and Tra­vers joined their host­ess for the heart­felt ren­di­tion of “I Shall Be Released” below, a per­for­mance that is only slight­ly marred by Elliot’s insane cos­tume and an unnec­es­sar­i­ly syrupy back­ing arrange­ment of strings and reeds.

Those who can’t live with­out see­ing the com­plete show can pur­chase DVDs online.

Relat­ed Con­tent:

Vin­tage Video of Joni Mitchell Per­form­ing in 1965 — Before She Was Even Named Joni Mitchell

James Tay­lor and Joni Mitchell, Live and Togeth­er (1970)

Watch 1970s Ani­ma­tions of Songs by Joni Mitchell, Jim Croce & The Kinks, Aired on The Son­ny & Cher Show

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  She’ll is appear­ing onstage in New York City through June 26 in Paul David Young’s polit­i­cal satire, Faust 3. Fol­low her @AyunHalliday.

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Dire Straits’ “Walk of Life” Is the Perfect Song to End Any Movie: The Graduate, Psycho, Easy Rider & 50+ Other Films

in Comedy, Film, Music, Video - Arts & Culture | June 9th, 2017

It’s hard to con­ceive of direc­tor Stan­ley Kubrick choos­ing a more per­fect song for Dr. Strangelove’s final mush­room cloud mon­tage than Vera Lynn’s “We’ll Meet Again.”

Dit­to Mike Nichols’ The Grad­u­ate. Can you imag­ine Ben and Elaine mak­ing their exis­ten­tial get­away to the tune of any­thing oth­er than “The Sound of Silence”?

Free­lance video edi­tor Peter Salomone can (see above). If he had his druthers, all films would end with Dire Straits’ 1985 hit, ”Walk of Life” a tune Rolling Stone described upon its release as a “boun­cy Fifties rock & roll song about cool Fifties rock & roll songs,” not­ing its “cheesy organ sound.”

More recent­ly, the New Zealand-based music blog Off the Tracks pro­claimed it “god-awful,” sug­gest­ing that the CIA could sur­gi­cal­ly implant its “obnox­ious” key­board riff to trig­ger assas­sins, and assert­ing that it (“and those fuck­ing sweat­bands”) were the demise of Dire Straits.

Such crit­i­cal eval­u­a­tions are imma­te­r­i­al where Salomone’s The Walk of Life Project is con­cerned. Over the course of a cou­ple months, he has glee­ful­ly applied it to the final min­utes of over five dozen films, leav­ing the visu­als unmo­lest­ed.

There are no sacred cows in this realm. Casablan­ca and The God­fa­ther are sub­ject­ed to this aur­al exper­i­ment, as, some­what mys­ti­fy­ing­ly, are Nanook of the North and Chaplin’s City Lights. Hor­ror, Dis­ney, musicals…Salomone dab­bles in a wide vari­ety of gen­res.

For my mon­ey, the most suc­cess­ful out­comes are the ones that impose a com­mer­cial send-em-up-the-aisles-smil­ing sen­si­bil­i­ty on delib­er­ate­ly bleak end­ings.

Direc­tor Dan­ny Boyle may have allowed audi­ences to decom­press a bit with heart­warm­ing footage of the real life Aron Ral­ston, whose auto­bi­o­graph­i­cal account of a life-chang­ing acci­dent inspired the film 127 Hours, but Salomone’s choice to move the play­head to the moment shocked hik­ers encounter a dazed and dehy­drat­ed James Fran­co clutch­ing his muti­lat­ed arm is sub­lime. That heli­copter could not be more per­fect­ly timed:

Some oth­er dark gems:

Easy Rid­er:

Plan­et of the Apes

Psy­cho

Salomone told Giz­mo­do that he’s tak­ing a break from the project, so if there’s a film you think would ben­e­fit from the Walk of Life treat­ment, you’ll have to do it your­self, with his bless­ing. Fan stabs at Scar­face, The Silence of the Lambs and Gone with the Wind sug­gest that the trick is not quite as easy to pull off as one might think.

You can view the com­plete col­lec­tion on The Walk of Life Project’s web­site or YouTube chan­nel.

via Giz­mo­do

Relat­ed Con­tent:

The Art of Film and TV Title Design

Watch Steven Soderbergh’s Cre­ative Mashup of Hitch­cock and Gus Van Sant’s Psy­cho Films

Hear 4+ Hours of Jazz Noir: A Sound­track for Strolling Under Street Lights on Fog­gy Nights

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  She’ll is cur­rent­ly appear­ing as one of the clowns in Paul David Young’s Faust 3, open­ing this week­end in New York City. Fol­low her @AyunHalliday.

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Cab Calloway Stars in “Minnie the Moocher,” a Trippy Betty Boop Cartoon That’s Ranked as the 20th Greatest Cartoon of All Time (1932)

in Animation, Jazz, Music, Video - Arts & Culture | June 2nd, 2017

The cast of Dave Fleis­ch­er’s 1932 car­toon, Min­nie the Moocher, above, are a far cry from the can­dy-col­ored ponies and sim­per­ing drag­ons pop­u­lat­ing today’s car­toon uni­verse.

There’s not much of a nar­ra­tive, and the clos­est thing to a moral is an unspo­ken “don’t be cokey.”

Who cares?

The lyrics to band­leader Cab Cal­loway’s crossover hit were ample excuse to send a rebel­lious Bet­ty Boop and her anthro­po­mor­phized pal, Bim­bo, on a trip­py jaunt through the under­world.

While there’s no evi­dence of Bet­ty or Bim­bo hit­ting the pipe, one won­ders what the ani­ma­tors were smok­ing to come up with such an imag­i­na­tive palette of ghouls.

The ghosts are pris­on­ers sport­ing chain gang stripes.

A witch with an out­sized head pre­fig­ures Miyaza­k­i’s com­mand­ing old ladies.

A blank-sock­et­ed mama cat, leached dry by her equal­ly eye­less kit­tens, con­jures the sort of night­mare vision that appealed to Hierony­mus Bosch.

The most benign pres­ence is a phan­tas­magoric wal­rus, mod­eled on a roto­scoped Cal­loway. The Hi De Ho Man cut a far svel­ter pres­ence in the flesh, as evi­denced by the live action sequence that intro­duces the car­toon.

Betty’s home sweet home offers near­ly as weird a land­scape as the one she and Bim­bo flee at film’s end.

Its many inor­gan­ic inhab­i­tants would have felt right at home in PeeWee’s Play­house, as would a self-sac­ri­fic­ing flow­er­ing plant, who suc­cumbs to a sam­ple of the hasenpf­ef­fer Betty’s immi­grant moth­er unsuc­cess­ful­ly urges on her. As for Bet­ty’s father, Fleis­ch­er struck a blow for teenagers every­where by hav­ing his head morph into a gramo­phone on which a bro­ken record (or rather, cylin­der) plays.

Min­nie the Moocher was vot­ed the 20th great­est car­toon of all time, in a 1994 sur­vey of 1,ooo ani­ma­tion pro­fes­sion­als. We hope you enjoy it now, as the ani­ma­tors did then, and audi­ences did way back in 1932.

Relat­ed Con­tent:

The Harlem Jazz Singer Who Inspired Bet­ty Boop: Meet the Orig­i­nal Boop-Oop-a-Doop, “Baby Esther”

Duke Ellington’s Sym­pho­ny in Black, Star­ring a 19-Year-old Bil­lie Hol­i­day

Hear 2,000 Record­ings of the Most Essen­tial Jazz Songs: A Huge Playlist for Your Jazz Edu­ca­tion

Bam­bi Meets Godzil­la: #38 on the List of The 50 Great­est Car­toons of All Time

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  She’ll be appear­ing onstage in New York City this June as one of the clowns in Paul David Young’s Faust 3. Fol­low her @AyunHalliday.

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The Only Surviving Behind-the-Scenes Footage of I Love Lucy, and It’s in Color! (1951)

in Comedy, Life, Music, Television, Video - Arts & Culture | November 25th, 2016


The endur­ing pop­u­lar­i­ty of come­di­an Lucille Ball’s 6‑season sit­com, I Love Lucy, has result­ed in so many full-col­or col­lectibles, occa­sion­al view­ers may for­get that the show was filmed in black and white.

More ardent fans may have tuned in for the spe­cial col­orized episodes CBS aired a cou­ple of years ago, but the only exist­ing col­or footage of Lucy and her hus­band and co-star, Desi Arnaz, was cap­tured by a stealthy stu­dio audi­ence mem­ber.

The ubiq­ui­ty of smart phones have made unau­tho­rized celebri­ty shots com­mon­place, but con­sid­er that this reg­u­lar Joe man­aged to smug­gle a 16mm movie cam­era into the bleach­ers of pro­duc­er Jess Oppen­heimer’s tight­ly con­trolled set. This covert oper­a­tion on Octo­ber 12, 1951 shed light on the true col­ors of both the Trop­i­cana night­club and Ricar­do apart­ment sets.

Oppenheimer’s son, Jess, even­tu­al­ly obtained the footage, insert­ing it into the appro­pri­ate scenes from “The Audi­tion,” the episode from which they were snagged.

The Har­po Marx-esque Pro­fes­sor char­ac­ter Lucy plays is a holdover from both the pilot and the vaude­ville show she and Arnaz cre­at­ed and toured nation­al­ly in 1950, in an attempt to con­vince CBS that audi­ences were ready for a com­e­dy based on a “mixed mar­riage” such as their own.

In addi­tion to Arnaz’ unbri­dled con­ga play­ing, the home movie, above, con­tains a love­ly, unguard­ed moment at the 2:40 mark, of the stars calm­ly await­ing slat­ing, side by side on the sound­stage.

Relat­ed Con­tent:

Bat­girl Fights for Equal Pay in a 1960s Tele­vi­sion Ad Sup­port­ing The Equal Pay Act

Watch the First Com­mer­cial Ever Shown on Amer­i­can TV, 1941

Watch Dragnet’s 1967 LSD Episode: #85 on TV Guide’s List of the Great­est Episodes of All Time

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

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Watch the Celebrated Ballerina Anna Pavlova Perform “The Dying Swan” (1925)

in Biology, Dance, Video - Arts & Culture | November 11th, 2016

Pre­pare my swan cos­tume.

— alleged last words of bal­le­ri­na Anna Pavlo­va, as report­ed by her hus­band

The Inter­net sug­gests that swans are fair­ly tough spec­i­mens, quick to hiss and flap at any YouTu­ber unwise enough to vio­late their per­son­al space with a video cam­era.

The cel­e­brat­ed bal­le­ri­na Anna Pavlo­va (1881–1931) paints a dif­fer­ent pic­ture in her sig­na­ture piece, The Dying Swan.

Chore­o­g­ra­ph­er Mikhail Fokine cre­at­ed the four minute solo in 1905 at Pavlova’s request, draw­ing on her admi­ra­tion for some res­i­dent swans in a Leningrad pub­lic park and Alfred, Lord Ten­nyson’s poem “The Dying Swan.”

It was per­haps a hap­py acci­dent that he had just learned how to play Camille Saint-Saëns’ Le Cygne from Le Car­naval des Ani­maux on his man­dolin. Per­formed on cel­lo, as orig­i­nal­ly intend­ed, it sup­plies a mood of gor­geous melan­choly with which to observe the tit­u­lar char­ac­ter’s en pointe death throes.

Fokine’s descrip­tion of the work’s cre­ation in Dance Mag­a­zine’s August 1931 issue speaks to the rig­or of these prac­ti­tion­ers and their art form:

It was almost an impro­vi­sa­tion. I danced in front of her [Pavlo­va], she direct­ly behind me. Then she danced and I walked along­side her, curv­ing her arms and cor­rect­ing details of pos­es. Pri­or to this com­po­si­tion, I was accused of bare­foot­ed ten­den­cies and of reject­ing toe danc­ing in gen­er­al. The Dying Swan was my answer to such criticism…The dance is tech­ni­cal­ly more dif­fi­cult than it may appear. The dancer moves con­stant­ly using  dif­fer­ent bour­rees. The feet must be beau­ti­ful, express­ing a trem­bling. All paus­es in sus-sous must show legs brought to one point. The arms and the back work inde­pen­dent­ly of the feet which con­tin­ue to move reg­u­lar­ly.

The archival footage from 1925, above, con­veys what Fokine’s words cannot—the deep emo­tion for which this par­tic­u­lar inter­preter was known. It’s a vis­cer­al expe­ri­ence to watch this bro­ken ani­mal fight­ing for its sur­vival, quiv­er­ing and heav­ing, before crum­pling at last. (A pity that this ver­sion cuts off so abrupt­ly… that final note should linger.)

Pavlo­va per­formed The Dying Swan around 4000 times over the course of her career, nev­er sick­en­ing of it, or of the beasts who inspired it. Swans pop­u­lat­ed a small pond at her Eng­lish coun­try home. You can wit­ness her fond­ness for them, below.

Relat­ed Con­tent:

Watch 82-Year-Old Igor Stravin­sky Con­duct The Fire­bird, the Bal­let Mas­ter­piece That First Made Him Famous (1965)

Watch an Avant-Garde Bauhaus Bal­let in Bril­liant Col­or, the Tri­adic Bal­let First Staged by Oskar Schlem­mer in 1922

Bal­let Dancers Do Their Hard­est Moves in Slow Motion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

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A Spellbinding Supercut of the First & Final Frames of 70 Iconic Films, Played Side by Side

in Creativity, Film, Video - Arts & Culture | November 2nd, 2015

Film­mak­er Jacob T. Swin­ney’s First and Final Frames, Part II, above, is a rare sequel that upholds the qual­i­ty of the orig­i­nal.

As he did in its pre­de­ces­sor, Swin­ney screens the open­ing and clos­ing shots of dozens of recent and icon­ic films side by side, pro­vid­ing view­ers with a crash course in the edi­to­r­i­al eye.

What is being com­mu­ni­cat­ed when the clos­ing shot replicates—or inverts—the open­ing shot?

Will the open­ing shot become freight­ed with por­tent on a sec­ond view­ing, after one has seen how the film will end?

(Shake­speare would say yes.)

Swin­ney is deeply con­ver­sant in the non­ver­bal lan­guage of film, as evi­denced by his numer­ous com­pi­la­tions and video essays for Slate on such top­ics as the Kubrick Stare and the facial expres­sions of emo­tion­al­ly rev­e­la­to­ry moments.

Most of the films he choos­es for simul­ta­ne­ous cra­dle-and-grave-shot replay qual­i­fy as art, or seri­ous attempts there­at. You’d nev­er know from the for­mal­ism of its open­ing and clos­ing shots that Jim Jarmusch’s Mys­tery Train at the 1:00 mark is a com­e­dy.

To be fair, Clint Mansell’s uni­ver­sal­ly applied score could cloak even Ani­mal House in a veil of wist­ful, cin­e­mat­ic yearn­ing.

Giv­en the com­ic sen­si­bil­i­ty Swinney’s brought to such super­cuts as a Con­cise Video His­to­ry of Teens Climb­ing Through Each Oth­ers’ Win­dows  and a Tiny His­to­ry of Shrink­ing Humans in Movies, I’m hop­ing there will be a third install­ment where­in he con­sid­ers the first and final moments of come­dies.

Any you might rec­om­mend for inclu­sion? (Hold the Pink Flamin­gos, por favor…)

Films fea­tured in First and Final Frames, Part II in order of appear­ance:

Sun­shine

Snow­piercer

Biu­ti­ful

21 Grams

The Pres­tige

All is Lost

Take Shel­ter

The Impos­si­ble

Unit­ed 93

Vanil­la Sky

Ex Machi­na

Inside Llewyn Davis

Dead Man

Mys­tery Train

Melvin and Howard

Fury

Full Met­al Jack­et

A Clock­work Orange

Eyes Wide Shut

Eraser­head

The Ele­phant Man

The Fall

The Thin Red Line

The New World

Road to Perdi­tion

Snow Falling on Cedars

The Bourne Ulti­ma­tum

The Imi­ta­tion Game

Flight

Hard Eight

Inher­ent Vice

World War Z

Wild

The Dou­ble

The Machin­ist

Born on the Fourth of July

Brideshead Revis­it­ed

Maps to the Stars

The Skele­ton Twins

Mom­my

A Scan­ner Dark­ly

10 Years

Milk

Lost High­way

Box­car Bertha

Bad­lands

Ghost Dog: The Way of the Samu­rai

Rat­catch­er

Ida

Raise the Red Lantern

Gat­ta­ca

Kun­dun

Bring­ing Out the Dead

A Most Want­ed Man

The Curi­ous Case of Ben­jamin But­ton

The Social Net­work

Jack Goes Boat­ing

Sub­ma­rine

Half Nel­son

Eter­nal Sun­shine of the Spot­less Mind

Babel

Djan­go Unchained

True Grit

Ver­ti­go

Old­boy

Apoc­a­lyp­to

Dawn of the Plan­et of the Apes

Glad­i­a­tor

Mad Max: Fury Road

World’s Great­est Dad

Relat­ed Con­tent:

A Mes­mer­iz­ing Super­cut of the First and Final Frames of 55 Movies, Played Side by Side

Watch 7 New Video Essays on Wes Anderson’s Films: Rush­more, The Roy­al Tenen­baums & More

How Aki­ra Kuro­sawa Used Move­ment to Tell His Sto­ries: A Video Essay

Dis­cov­er the Life & Work of Stan­ley Kubrick in a Sweep­ing Three-Hour Video Essay

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, is now play­ing at The Brick The­ater in New York City. Fol­low her @AyunHalliday

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M.C. Escher’s Perpetual Motion Waterfall Brought to Life: Real or Sleight of Hand?

in Design, Video - Arts & Culture | September 10th, 2015

Since M.C. Esch­er bent minds in the 20th cen­tu­ry with his Möbius strips, meta­mor­phoses, and impos­si­ble objects, oth­er artists have been try­ing to bring his cre­ations to life. And the advent of com­put­er illus­tra­tion, then ani­ma­tion, has made it all the more pos­si­ble.

In the real, “meat­space” world of organ­ic things, it’s a lit­tle bit hard­er. In Jan­u­ary 2011, a YouTu­ber by the name of “mcwolles” post­ed the video above. In it, a man pours water in a scale mod­el of Escher’s 1961 Water­fall. The con­trap­tion, using blue water, actu­al­ly seems to work. The water runs uphill through sev­er­al sharp angles and fin­ish­es by tum­bling off the top into the pad­dle­wheel below, where its begins its jour­ney again. “Mcwolles” ends the video star­ing into the cam­era as he tries to find the off switch…but also dares view­ers to fig­ure out how he did it.

Escher, Waterfall 1961

Cre­ative Com­mons image via Wikipedia

The Inter­net had a viral freakout—check out the 9.3 mil­lion views—and prompt­ly set about try­ing to offer solu­tions. “Look how the shad­ows fall!” sev­er­al peo­ple point­ed out. The locked-down cam­era was anoth­er clue.

In May of 2011, “mcwolles” offered a 360 tour of the cre­ation in his garage that offered some sug­ges­tions, and that was all that was need­ed for user “LookingMercury3D” to offer their expla­na­tion of how the trick was done. (Hint: edit­ing).

Since then, “mcwolles” has only post­ed two more videos: one of him los­ing weight and one of a dog hav­ing its way with a stuffed ani­mal. Maybe he’s busy work­ing on his next piece of Esch­er-inspired art.

 

Relat­ed con­tent:

Meta­mor­phose: 1999 Doc­u­men­tary Reveals the Life and Work of Artist M.C. Esch­er

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

Inspi­ra­tions: A Short Film Cel­e­brat­ing the Math­e­mat­i­cal Art of M.C. Esch­er

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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Watch La Linea, the Popular 1970s Italian Animations Drawn with a Single Line

in Animation, Art, Video - Arts & Culture | April 10th, 2015

Sim­plic­i­ty is not the goal. It is the by-prod­uct of a good idea and mod­est expec­ta­tions.

Thus spake design­er Paul Rand, a man who knew some­thing about mak­ing an impres­sion, hav­ing cre­at­ed icon­ic logos for such imme­di­ate­ly rec­og­niz­able brands as ABC, IBM, and UPS.

An exam­ple of Rand’s obser­va­tion, La Lin­ea, aka Mr. Line, a beloved and decep­tive­ly sim­ple car­toon char­ac­ter drawn with a sin­gle unbro­ken line, began as a shill for an Ital­ian cook­ware com­pa­ny. No mat­ter what he man­ages to get up to in two or three min­utes, it’s deter­mined that he’ll even­tu­al­ly butt up against the lim­i­ta­tions of his lin­eal real­i­ty.

His chat­ter­ing, apoplec­tic response proved such a hit with view­ers, that a few episodes in, the cook­ware con­nec­tion was sev­ered. Mr. Line went on to become a glob­al star in his own right, appear­ing in 90 short ani­ma­tions through­out his 15-year his­to­ry, start­ing in 1971. Find many of the episodes on Youtube here.

The for­mu­la does sound rather sim­ple. Ani­ma­tor Osval­do Cavan­doli starts each episode by draw­ing a hor­i­zon­tal line in white grease pen­cil. The line takes on human form. Mr. Line’s a zesty guy, the sort who throws him­self into what­ev­er it is he’s doing, whether ogling girls at the beach, play­ing clas­si­cal piano or ice skat­ing.

When­ev­er he bumps up against an obstacle—an uncross­able gap in his base­line, an inad­ver­tent­ly explod­ed penis—he calls upon the god­like hand of the ani­ma­tor to make things right.

(Bawdy humor is a sta­ple of La Lin­ea, though the visu­al for­mat keeps things fair­ly chaste. Innu­en­do aside, it’s about as graph­ic as a big rig’s sil­hou­et­ted mud­flap girl.)

Voiceover artist Car­lo Bono­mi con­tributes a large part of the charm. Mr. Line may speak with an Ital­ian accent, but his vocal track is 90% impro­vised gib­ber­ish, with a smat­ter­ing of Lom­bard dialect. Watch him chan­nel the char­ac­ter in the record­ing booth, below.

I love hear­ing him take the even-keeled Cavan­doli to task. I don’t speak Ital­ian, but I had the sen­sa­tion I under­stood where both play­ers are com­ing from in the scene below.

Watch a big two-hour marathon of La Lin­ea at the top, or the com­plete col­lec­tion here.

via E.D.W. Lynch on Laugh­ing Squid

Relat­ed Con­tent:

The Dis­ney Car­toon That Intro­duced Mick­ey Mouse & Ani­ma­tion with Sound (1928)

Con­fi­dence: The Car­toon That Helped Amer­i­ca Get Through the Great Depres­sion (1933)

Japan­ese Car­toons from the 1920s and 30s Reveal the Styl­is­tic Roots of Ani­me

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

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