Each book contains two irresistible stories recounting the high energy antics of Yakko, Wakko and Dot. Animaniacs lampoons the fun and foibles of moviemaking at the Warner Bros. Studio, introducing wonderful ongoing characters from the nervous CEO, Mr. Plotz, to the know-it-all teacher, Miss Flameel--all of whom try (and fail) to subdue the slapstick adventures of the Animaniacs!. Full-color.
The popularity of cartoon music, from Carl Stalling's work for Warner Bros. to Disney sound tracks and "The Simpsons"' song parodies, has never been greater. This lively and fascinating look at cartoon music's past and present collects contributions from well-known music critics and cartoonists, and interviews with the principal cartoon composers. Here Mark Mothersbaugh talks about his music for "Rugrats," Alf Clausen about composing for "The Simpsons," Carl Stalling about his work for Walt Disney and Warner Bros., Irwin Chusid about Raymond Scott's work, Will Friedwald about "Casper the Friendly Ghost," Richard Stone about his music for "Animaniacs," Joseph Lanza about "Ren and Stimpy," and much, much more.
Rob Paulsen is one of Hollywood’s busiest, most talented, and most passionate performers. If you don’t know him by name, you will know him by the many characters he has brought to life: Pinky from Pinky and the Brain, Yakko from Animaniacs, the tough but loveable Raphael from the original animated Teenage Mutant Ninja Turtles, and many more. So you can imagine how terrifying it must have been when Rob was diagnosed with throat cancer, putting his entire livelihood in jeopardy and threatening to rob the world of all his loveable characters that filled our youths and adulthoods with humor and delight. Voice Lessons tells the heartwarming and life-affirming story of Rob’s experience with an aggressive cancer treatment and recovery regimen, which luckily led to a full recovery. Rob quickly returned to doing what he loves most, but with a much deeper appreciation of what he came so close to losing. His new lease on life inspired him to rededicate himself to his fans, particularly the new friends he made along the way: hundreds of sick children and their families. Rob said it best himself: “I can not only continue to make a living, but make a difference, and I can’t wait to use that on the biggest scale that I can.”
Each week, the writers of The A.V. Club issue a slightly slanted pop-culture list filled with challenging opinions (Is David Bowie's "Young Americans" nearly ruined by saxophone?) and fascinating facts. Exploring twenty-four great films too painful to watch twice, fourteen tragic movie-masturbation scenes, eighteen songs about crappy cities, and much more, Inventory combines a massive helping of new lists created especially for the book with a few favorites first seen at AVClub.com and in the pages of The A.V. Club’s sister publication, The Onion. But wait! There's more: John Hodgman offers a set of minutely detailed (and probably fictional) character actors. Patton Oswalt waxes ecstatic about the "quiet film revolutions" that changed cinema in small but exciting ways. Amy Sedaris lists fifty things that make her laugh. "Weird Al" Yankovic examines the noises of Mad magazine's Don Martin. Plus lists from Paul Thomas Anderson, Robert Ben Garant, Tom Lennon, Andrew W.K., Tim and Eric, Daniel Handler, and Zach Galifianakis—and an epic foreword from essayist Chuck Klosterman.
In the first in-depth examination of music written for Hollywood animated cartoons of the 1930s through the 1950s, Daniel Goldmark provides a brilliant account of the enormous creative effort that went into setting cartoons to music and shows how this effort shaped the characters and stories that have become embedded in American culture. Focusing on classical music, opera, and jazz, Goldmark considers the genre and compositional style of cartoons produced by major Hollywood animation studios, including Warner Bros., MGM, Lantz, and the Fleischers. Tunes for 'Toons discusses several well-known cartoons in detail, including What's Opera, Doc?, the 1957 Warner Bros. parody of Wagner and opera that is one of the most popular cartoons ever created. Goldmark pays particular attention to the work of Carl Stalling and Scott Bradley, arguably the two most influential composers of music for theatrical cartoons. Though their musical backgrounds and approaches to scoring differed greatly, Stalling and Bradley together established a unique sound for animated comedies that has not changed in more than seventy years. Using a rich range of sources including cue sheets, scores, informal interviews, and articles from hard-to-find journals, the author evaluates how music works in an animated universe. Reminding readers of the larger context in which films are produced and viewed, this book looks at how studios employed culturally charged music to inspire their stories and explores the degree to which composers integrated stylistic elements of jazz and the classics into their scores.
Honest Abe. The rail-splitter. The Great Emancipator. Old Abe. These are familiar monikers of Abraham Lincoln. They describe a man who has influenced the lives of everyday people as well as notables like Leo Tolstoy, Marilyn Monroe, and Winston Churchill. But there is also a multitude of fictional Lincolns almost as familiar as the original: time traveler, android, monster hunter. This book explores Lincoln's evolution from martyred president to cultural icon and the struggle between the Lincoln of history and his fictional progeny. He has been Simpsonized by Matt Groening, charmed by Shirley Temple, and emulated by the Lone Ranger. Devotees have attempted to clone him or to raise him from the dead. Lincoln's image and memory have been invoked to fight communism, mock a sitting president, and sell products. Lincoln has even been portrayed as the greatest example of goodness humanity has to offer. In short, Lincoln is the essential American myth.
The year's best, and darkest, tales of terror, showcasing the most outstanding new short stories by both contemporary masters of the macabre and exciting newcomers. As ever, this acclaimed anthology also offers a comprehensive overview of the year in horror, a necrology of recently deceased luminaries, and a list of indispensable addresses horror fans and writers. The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to presenting the best in contemporary horror fiction.
