Please excuse the stray typo.
Ever wonder why so many of us accept the News Media Narratives without question, despite obvious intellectually provable contradictions? Ever wonder why so many of us are quick to jump onto the next Social Media Meme? Why are so many of us captivated and entranced by the Two Pied Pipers of the Twin Neo-Religions of News and Politics? The answer might have something to do with the early conditioning many of us were and are exposed to at very young ages.
As many of us become aware of the truth of our contrived world we can filter out the bad information from the propaganda noise machine and we can teach our children to do the same. We can also simply turn it off. The internet is today’s medium for social behavior control and manipulation but we can use it to filter that media and we can pick and choose how and when we engage with it, or if we do so at all. The best part is we can use the internet as a tool for self education. We need not passively respond to the programming any longer.
"Saturday-morning cartoon was the colloquial term for the original animated television programming that was typically scheduled on Saturday mornings in the United States on the majortelevision networks. The genre's popularity had a broad peak from the late 1960s through the late 1990s; after this point, it declined in the early 2000s in the face of changing cultural norms, increased competition from formats available at all times, and heavier regulations. In the last two decades of the genre's existence, Saturday morning cartoons were primarily created and aired to meet educational television mandates. Minor television networks, in addition to the non-commercial PBS in some markets, continue to air animated programming on Saturday while partially meeting those mandates.
In the United States, the generally accepted times for these and other children's programs to air on Saturday mornings were from 8 a.m. to noon Eastern Time. Until the late 1970s, American networks also had a schedule of children's programming on Sunday mornings, though most programs at this time were repeats of Saturday morning shows that were already out of production. In some markets, some shows were pre-empted in favor of syndicated or other types of local programming. Canadian Saturday morning cartoons were largely defunct by 2002. At least one U.S. broadcast television network still aired non-E/I animated programs on Saturday mornings as late as 2014; among the "Big Three" traditional major networks, the last non-educational cartoon (Kim Possible) last aired in 2006. Cable television networks have since then revived the practice of debuting their most popular animated programming on Saturday mornings on a sporadic basis."
CBS & A Pee Wee Psy Op - Porno Playhouse
"From 1955 to 1984, live-action series Captain Kangaroo served as CBS' flagship children's program. For its first three months, the program aired only on weekday mornings; a Saturday morning edition was added in December 1955. During the 1964-65 season, the Saturday broadcast was temporarily replaced by Mr. Mayor, a children's program that served as a vehicle for Captain Kangaroo star Bob Keeshan; after returning in the fall of 1965, the Saturday edition of Captain Kangaroo was discontinued again in 1968, relegating it to weekdays only. Except for pre-emptions due to breaking news coverage, notably the network's three-day-long continuous coverage of the assassination of John F. Kennedy in 1963, and a few episodes that ran for 45 minutes, the program aired as an hour-long broadcast on weekday mornings until 1981. On September 9, 1968, the program began broadcasting in color.
Its audience of predominately children could never help the program compete in the ratings with entertainment/news shows such as NBC's Today, although Captain Kangaroo would become a three-time Emmy Award winner for "Outstanding Children's Entertainment Series" in 1979, 1983 and 1984. In the fall of 1981, as part of an expansion of the CBS Morning News, Captain Kangaroo was moved to the earlier time slot of 7:00 a.m. and reduced to half-hour – at which time, the program was retitled Wake Up with the Captain.
In the fall of 1982, Captain was relegated to a Saturday morning 7:00 a.m. (Eastern) time slot. The network offered a package of reruns to CBS-affiliated stations to air on Sunday mornings in place of the previous block of animated series reruns. Most CBS affiliates only cleared the Saturday morning broadcast of program afterward. Still a third of CBS' affiliated stations had stopped airing Captain Kangaroo entirely after 1982. The program was finally canceled altogether in late 1984, citing a lack of affiliate clearances. Alongside Captain Kangaroo, CBS aired various animated series aimed at kids during the 1960 and 1970s, such as the original version of Scooby-Doo and Fat Albert and the Cosby Kids."
"In September 1972, a spin-off series titled Josie and the Pussycats in Outer Space debuted on CBS. This version of the series launched the characters into outer space; the opening credits sequence shows the group taking a promotional photo at the launch site of a new spaceship and a jealous Alexandra elbowing the cast aside to steal the spotlight from Josie. However, Alexandra is jerked inside as well and triggers the launch sequence, sending them and the ship into deep space. Every episode centered on the Pussycats encountering a strange new world, where they would encounter and often be kidnapped by various alien races before escaping and attempting to return home.
Musical numbers and chase sequences set to newly recorded songs were featured in this spin-off series as with the original. Josie in Outer Space also added the character of Bleep, a pet-sized fluffy alien adopted by Melody, who was the only one who could understand the creature (who only says "Bleep") and numerous other alien animals encountered.
The 16 episodes of Josie and the Pussycats in Outer Space were re-run for the 1973-1974 season until January 26, 1974, when CBS canceled it and ordered no more new Josie episodes from Hanna-Barbera. Josie and the Pussycats in Outer Space contained a laugh track as well, but utilized an inferior version created by the studio."
The Post World War Two Color Television 666 Beast Revealed: Poisoning Young Minds & Creating Adult Parrot Zombies
The children of the late 20th Century grew up to become the parents and decision makers of today. Want to know why they will all march off to Washington DC over Mainstream Media Promoted Cartoon Nonsense? Look to the early indoctrination and conditioning all of us were (and still are) subject to. This is the literal "Cultural Cartoon Cool Aid".
"The In the News era (1971–1986)"
"From 1971 to 1986, CBS News produced a series of one-minute segments titled In the News, which aired between other Saturday morning programs. The "micro-series" (as it would be labelled today) had its genesis in a series of animated interstitials produced by CBS and Hanna-Barbera Productions called In The Know, featuring the title characters from Josie and the Pussycats narrating educational news segments tailored for children. This was eventually metamorphized into a more live-action-oriented micro-series."
CBS: The Propaganda EYE IN THE SKY PROGRAMMING YOUNG MINDS A LONG TIME
"CBS Kid TV (1986–1992)
In 1986, the network began branding its Saturday morning block as CBS Kid TV, and incorporated additional programs over the next few years such as Teenage Mutant Ninja Turtles, Bill & Ted's Excellent Adventures, Back to the Future and Mother Goose and Grimm. The year prior to the block's debut, the network premiered its first in-house animated series since their original Terrytoons, CBS Storybreak; originally hosted by Bob Keeshan, the half-hour series – which featured animated adaptations of popular children's books – was nominated for an Emmy Award for "Outstanding Animated Program" in 1986. Storybreak continued to air on the network in reruns until 1988, before returning in September 1993 with new hosted segments conducted by Malcolm-Jamal Warner.
One of the network's most popular children's programs around this time was Muppet Babies, an animated series which debuted in 1984 and ran for eight seasons. At the height of its popularity, CBS aired the program in two- or three-episode blocks. The program was briefly renamed Muppets, Babies & Monsters, too! during the show's second season, with the second half-hour of the block filled by Little Muppet Monsters, a new series which featured live-action puppets and cartoons starring the adult Muppet characters. The program lasted three weeks before its cancellation (leaving 15 already produced episodes unaired), replaced by an additional half-hour of Muppet Babies. Pee-wee's Playhouse, which debuted in 1986, also became a major hit for the network's Saturday morning lineup; known for its bizarre humor, reruns of the series were abruptly dropped by CBS in 1991 – less than a year after the series ended its five-year run – following star Paul Reubens' arrest after allegedly exposing himself in a Sarasota, Florida adult movie theatre."
Yellow Journal Marketed Reality To Program Young Minds to Accept Cartoonish Reasoning As Fact
Please take a gander at the (not too) subtle cultural cues during the advertising of products produced and marketed for the "children demographic".
Back before the World Wide Social Media Web of easily accessible content a few generations of us grew up watching post World War Two era Television. Back before the days of cable TV, there were a limited number of Television channels and the Big Three, CBS, NBC, and ABC, all offered Saturday Morning programming designed for children.
Many of us grew up watching these manufactured products and the commercials in between. We would end up going out and buying the various products marketed to our childish minds, or ask our parents (or pray to Santa) to do so for us. Early on our little minds are marketed to and we get initiated in this very real commercial wage slave religion we tend to overlook and take for granted in much the same way fish take the water they swim in and breathe, for granted.
Drink The Cartoon Cool Aid- The Cargo Cult Indoctrination of The Minds of The Young Public Mass
Here we can see the repetition of symbols of the culturally manufactured religion known as modern science. We have apes, monkeys, spacemen, rockets and of course mythical dinosaurs. We have spooky ghosts, costumed modern mythical Gods as super heroes, we have super heroes as modern Gods. We have images of fast cars, motorcycles, ski houses and candy bars that are all part of this very contrived cartoon cargo cult culture.
We can see the Globe Trotters and other sports marketing directed at children. These people are all grown up running many things inout world today. Too many of us believe the lies sold by the Mainstream and alt media due to this early conditioning. Those of us raised in a media saturated noise machine world are not meant to wake up to this very real control system of human behavior manipulation.
Cartoons and mythical characters are both examples of the workings of the human imagination. All of these images are mythical artifacts of our culture, This shows us the foundation and early indoctrination of the late 20th Century "American" mind. Evolution and the Cold War Space Race and dinosaurs all are symbols that tell us we live in the proverbial "Land of The Lost", as many of us are "Lost in Space". Too many of us believe the lies sold on all sorts of screens. We tend to get lost in this two dimensional ( or three dimensional ) "space".
Magically Composited Special Effects Bubbles
"Robert Abel started out doing film work with Saul Bass (working on the titles for Hitchcock’s Vertigo) and camera operating for the father of computer animation, John Whitney. Con Pederson had worked alongside Douglas Trumbull on making films for NASA and together were hired by Stanley Kubrick to create the special effects for 2001: A Space Odyssey."
LEVI Comic-Strip Word Jumble:
Please Allow Me To Introduce The Little "EVIL" Trade Mark of The 666 Beast
2001: Creating Artificial Space on a Screen
"Emerging computer technologies in the late seventies and early eighties inspired musicians to innovate with new sounds and programming, and much of the creative heat from this period is down to the excitement of being at this new frontier. This was equally true in the world of film, specifically animation, and one of the most respected creative teams from this time were Robert Abel & Associates (RA&A)."
"Robert Abel started out doing film work with Saul Bass (working on the titles for Hitchcock’s Vertigo) and camera operating for the father of computer animation, John Whitney. Con Pederson had worked alongside Douglas Trumbull on making films for NASA and together were hired by Stanley Kubrick to create the special effects for 2001: A Space Odyssey. In 1971, longtime friends Abel and Pederson founded RA&A and became pioneers of motion-control photography and computer animation techniques."
"Working with a computer strapped to a camera, Abel and Whitney had created a look that became known as the “slit-scan” effect. Pederson had developed this photography technique for 2001’s famous star-gate sequence, and at RA&A he further adapted the computerised camera system to create special effects for broadcast graphics and television commercials. One commercial for Kawasaki paid homage to 2001 and was subsequently banned for alluding to “the ultimate trip”. (Ironically, the stations which banned the commercial, ABC and CBS, went on to commision RA&A to design their animated indents.)"
"RA&A’s other famous commercials included ones for 7-Up, Levis and Chevrolet, and their style was nicknamed “photo-fusion”. For 1975’s 7-Up commercial, Bubbles, which was directed by Richard Taylor, they employed a back-light compositing technique created by Taylor which became known as “candy-apple neon”. This highly stylistic method of animation provided glowing effects to characters and scenes, and was further developed by colleague Bill Kovacs."
"Kovacs had helped create previsualisation vector animation to help in planning final sequences, and in related experiments had been able to shoot images which yielded unprecedented “pseudo-3D” computer graphics. Abel’s plan to apply these techniques to film proved ahead of its time, leading to a failed experiment on the 1977 film, Star Trek: The Motion Picture. RA&A had been hired to work on the special effects for this film, but due to Gene Roddenberry’s interference, the budget escalated out of control and Paramount felt forced to fire RA&A. Douglas Trumbull, who had just finished work on Close Encounters Of The Third Kind, was called in to complete the effects shots, but although Trumbull received the credit for special effects on the finished film, most of the designs and concepts were that of Richard Taylor’s team."
"After having provided the opening sequence for Disney’s film, The Black Hole, RA&A were one of four teams asked to provide effects for the 1982 film, Tron, and the “candy-apple neon” technique resurfaced to help create the look of this landmark film. There’s a deleted scene from Tron where the female character is at her apartment, wearing a luminescent gown very reminiscent of the butterfly wings seen in the 7-Up commercial. Richard Taylor, who started out doing lightshows for The Grateful Dead’s concerts, was now working at a company called Information International Inc, and he not only organized the effects for Tron but was a key designer of the film’s graphics and costumes, along with Moebius and Syd Mead."
"At the same time as Tron was being made, Robert Abel co-directed (with Bruce Gowers) the music video for The Jacksons’, ‘Can You Feel It’, and in 1984, through a division called Abel Image Research, Abel oversaw a revolutionary advert for the Canned Food Council. The commercial, called Brilliance (aka Sexy Robot), was only shown on television once, and was inspired by a Chris Moore painting. Under the direction of Randy Roberts, Brilliance featured techniques that had never been attempted or achieved before, and the success of their motion capture process started a new era in animation effects."
"Robert Abel (March 10, 1937 – September 23, 2001) was an American pioneer in visual effects, computer animation and interactive media, best known for the work of his company, Robert Abel and Associates.
In 1971, Abel and Con Pederson founded Robert Abel and Associates (RA&A), creating slit-scan effects and using motion-controlled cameras for television commercials and films. RA&A began using Evans & Sutherland computers to previsualize their effects; this led to the creation of the trailer for The Black Hole, and the development of their own software for digitally animating films (including Tron).
In 1984, Robert Abel and Associates produced a commercial named Brilliance for the Canned Food Information Council for airing during the Super Bowl. It featured a sexy robot with reflective environment mapping and human-like motion.
Abel & Associates closed in 1987 following an ill-fated merger with now defunct Omnibus Computer Graphics, Inc., a company which had been based in Toronto.
In the 1990s, Abel founded Synapse Technologies, an early interactive media company, which produced pioneering educational projects for IBM, including "Columbus: Discovery, Encounter and Beyond" and "Evolution/Revolution: The World from 1890-1930"."
"Whitney was born in Pasadena, California and attended Pomona College. His first works in film were 8 mm movies of a lunar eclipse which he made using a home-made telescope. In 1937-38 he spent a year in Paris, studying twelve-tone composition under Rene Leibowitz. In 1939 he returned to America and began to collaborate with his brother James on a series of abstract films. Their work, Five Film Exercises (1940–45) was awarded a prize for sound at the First International Experimental Film Competition in Belgium in 1949. In 1948 he was awarded a Guggenheim Fellowship."
Computer Artist "Directs" Engineering Films on Guided Missiles.
Does that really make sense?
Wouldn't it make more sense if he was Faking it for the Federal Government instead?
We think the answer is obvious.
"During the 1950s Whitney used his mechanical animation techniques to create sequences for television programs and commercials. In 1952 he directed engineering films on guided missile projects. One of his most famous works from this period was the animated title sequence from Alfred Hitchcock's 1958 film Vertigo, which he collaborated on with the graphic designer Saul Bass.
In 1960, he founded Motion Graphics Incorporated, which used a mechanical analogue computer of his own invention to create motion picture and television title sequences and commercials. The following year, he assembled a record of the visual effects he had perfected using his device, titled simply Catalog. In 1966, IBM awarded John Whitney, Sr. its first artist-in-residence position.
By the 1970s, Whitney had abandoned his analogue computer in favour of faster, digital processes. He taught the first computer graphics class at UCLA in 1972. The pinnacle of his digital films is his 1975 work Arabesque, characterized by psychedelic, blooming colour-forms. In 1969-70 he experimented with motion graphics computer programming at California Institute of Technology. His work during the 1980s and 1990s, benefited from faster computers and his invention of an audio-visual composition program called the Whitney-Reed RDTD (Radius-Differential Theta Differential). Works from this period such as Moondrum (1989–1995) used self-composed music and often explored mystical or Native-American themes.
All of John Whitney's sons (Michael, Mark and John Jr.) are also film-makers.
Several of the films (plus some of James Whitney's), were preserved by Center for Visual Music in Los Angeles; HD transfers from their preservation have been seen in major museum exhibitions including Visual Music at MOCA and The Hirshhorn Museum (2005), Sons et Lumieres at Centre Pompidou (2004–05), The Third Mind at The Guggenheim Museum, and other shows."
Artifacts of The Late 20th Century Cartoon Cargo Cult Construct
Transhuman Origins: A $6 Million One Eye Bionic Machine Man Cartoon "Live Action" Spy Guy
A Late 20th Cold War Era Mythology
Toys are overlooked cultural artifacts designed to allow children the chance to participate in ritualistic behavior. Rituals are reenactments of myths, and ritual means theater, of course.
Children for years have been able to play with toys and in doing so they were and are able to recreate and experience the various forms of behavior they have witnessed on the most powerful screen of this time period, the religious like church experience of the full color moving image, with sound, in the living room.
"Although the Saturday-morning timeslot had always featured a great deal of children's programming beginning in the early 1950s, the idea of commissioning new animated series for broadcast on Saturday mornings caught on in the mid-1960s, when the networks realized that they could concentrate kids' viewing on that one morning to appeal to advertisers. Furthermore, limited animation, such as that produced by such studios as Filmation Associates, DePatie-Freleng Enterprises, Total Television, Jay Ward Productions and Hanna-Barbera Productions, was economical enough to produce in sufficient quantity to fill the four-hour time slot, as compared to live-action programming. While production times and costs were undeniably higher with animated programming, the cost of talent was far less (voice actors Daws Butler, Don Messick, June Foray, Mel Blanc, Paul Frees, Jean Vander Pyl, Janet Waldo, Hal Smith, Howard Morris, Allen Melvin, Bill Scott, Dayton Allen, Allen Swift, Paul Winchell, Hans Conried, Casey Kasem and, in later years, Jim Cummings, Frank Welker, Rob Paulsen, Jess Harnell, Tress MacNeille, Tara Strong, Corey Burton, Nancy Cartwright, Cree Summer, Maurice LaMarche and Tom Kenny became known for their ability to hold several roles at once, sometimes even on the same show) and networks could rerun children's animated programming more frequently than most live-action series, negating the financial disadvantages. The experiment proved successful, and the time slot was filled with profitable programming.
Until the late 1960s, a number of Saturday-morning cartoons were reruns of animated series originally made for prime time during a brief flurry of such series a few years earlier. These included Hanna-Barbera's Top Cat, The Jetsons and Jonny Quest, Ross Bagdasarian, Sr.'s The Alvin Show, and Bob Clampett's Beany and Cecil.
Some Saturday morning programs consisted of telecasts of older cartoons originally made for movie theaters, such as the Bugs Bunny and Road Runner cartoons produced by Warner Bros. Cartoons, the Tom and Jerry cartoons produced by Metro-Goldwyn-Mayer and directed by William Hanna and Joseph Barbera for that studio prior to establishing their own company; the Mighty Mouse and Heckle and Jeckle cartoons produced by Paul Terry's Terrytoons, and Walter Lantz's Woody Woodpecker cartoons. During the 1960s and 1970s, it was not uncommon to have animated shorts produced with both film and television in mind (DePatie-Freleng was particularly associated with this business model), so that by selling the shorts to theaters, the studios could afford a higher budget than would otherwise be available from television alone, which at the time was still a free medium for the end-user. Some of these legacy characters later appeared in "new" versions by other producers (Tom and Jerry by Hanna and Barbera for their own company, and later by Filmation; Mighty Mouse by Filmation and later by Ralph Bakshi, The Pink Pantherby Hanna-Barbera with Friz Freleng as a consultant).
The remainder of the networks' Saturday-morning schedules were filled by reruns of black-and-white live-action series made in the 1950s, usually with a western background (The Lone Ranger, The Roy Rogers Show, Sky King, Fury, Rin-Tin-Tin, My Friend Flicka, etc.) and occasional first-run live-action series such as The Magic Land of Allakazam, the later color episodes of Howdy Doody, The Shari Lewis Show, Shenanigans, and Watch Mr. Wizard.
Independent stations (TV stations not affiliated with networks) often did not show cartoons on Saturday mornings, instead running feature films (usually B-Westerns or low-budget series movies such as The Bowery Boys or Bomba the Jungle Boy), chapters of "cliffhanger" serial films, comedy short subjects originally made for movie theatres (Laurel and Hardy, The Three Stooges, and Our Gang/The Little Rascals), older live-action syndicated series like The Adventures of Superman, The Cisco Kid, Ramar of the Jungle, The Abbott and Costello Show, The Adventures of Robin Hood, Hopalong Cassidy, Flash Gordon and Sheena, Queen of the Jungle; and regional sports shows, often wrestling or bowling programs.
The 1960s, 70s, 80s and 90s
The mid-1960s brought a boom in superhero cartoon series, some adapted from comic books, (Superman, Aquaman, Spider-Man, The Fantastic Four), and others original (Space Ghost, The Herculoids, Birdman and the Galaxy Trio, etc.) Also included were parodies of the superhero genre (Underdog, The Super Six, and George of the Jungle, among others.) Another development was the popular music-based cartoon, featuring both real-life groups (The Beatles, The Jackson 5ive, and The Osmonds) as well as anonymous studio musicians (The Archies, Josie and the Pussycats). Live-action series continued to some extent with Sid and Marty Krofft's H.R. Pufnstuf and Sigmund and the Sea Monsters, Hanna-Barbera's The Banana Splits, Stan Burns and Mike Marmer's Lancelot Link, Secret Chimp, ABC's Curiosity Shop (produced by Chuck Jones), Don Kirshner's widely popular The Monkees, and the British-made slapstick comedy Here Come the Double Deckers.
With the 1970s came a wave of animated versions of popular live-action prime time series, mainly with the voices of the original casts, including Star Trek, Happy Days, Laverne & Shirley, Mork & Mindy, The Partridge Family, and The Dukes of Hazzard. Less literally adapted was The Oddball Couple, which turned Neil Simon's mismatched roommates into a scruffy dog and a fastidious cat. Other adaptations of familiar characters and properties included Tarzan, Planet of the Apes, Lassie, Godzilla, and Zorro. At this same time, the great success of Scooby-Doo spawned numerous imitations, combining Archies-style teen characters and funny animals with light-weight mystery stories (Speed Buggy, Jabberjaw, etc.) Comedian Bill Cosby successfully blended educational elements with both comedy and music in the popular, long-running Fat Albert and the Cosby Kids."
"Filmation, primarily a cartoon producer, also turned out several live-action Saturday morning series in the 70's; including Shazam! and Isis (with animated sequences), Jason of Star Command, The Ghost Busters (not related to the later movie series, but a vehicle for former F Troop stars Larry Storch and Forrest Tucker) and Uncle Croc's Block."
"During the mid-1980s through the early 1990s, a glut of younger and junior versions of cartoon characters began appearing on Saturday morning cartoons."
Memes & Themes: Dinosaurs, Darwin Monkeys, & Global (Post World War Two) Air Travel
World War Two made the world "safe" for passenger jet global world trade and air travel. Hotels, casinos and tourist traps sprang up worldwide during this great era of commercial enterprise expansion. Excelsior indeed! Here are early and programmed social cues, designed to manipulate little childish minds. Maybe this is why so many adults today feel the need to wait on Homeland Security lines.
Call 911: Never Forget September is "Back to School" Month!
Metropolis To Become Megalopolis
This is the real world. Metropolis is barely allegorical. Cartoon minds need to be manufactured. Saturday Morning Television Programming used to be the "cutting edge" technology and medium for the indoctrination of the mass (young) public. Today this noise machine has spawned digital and World Wide Social Media Heads. Our children and we are all barraged with a near overwhelming assault on our senses. The 666 Multi Media Noise Machine Beast never sleeps. It seeks to continue to turn the Natural World into an artificial one, at least as far as we humans are concerned. Our immediate world is becoming more and more controlled and contrived. We are become more dependent on the system and less self sufficient. We are conditioned to continue to act like children and we are rewarded for parroting and copying more often than we are for actually showing our own individual initiative. We are supposed to remain as children who need external guidance and permission. We are not supposed to take the more difficult road of learning to think for ourselves.
The 21st Century is sure to be about attempting to top the economic and engineering feats of the previous one.
All the "History" seems to show us is that we have been managed as a resource like animals for a long time and our society is baed on this very premise. We are all wage slaves in this inhuman machine like system. The shame is the film Metropolis is barely allegorical.
20th Century Media Programming The Human Mind
"Hanna-Barbera's shows had a worldwide audience of over 300 million people in the 1960s and have been translated into more than 20 languages."
"Joseph Roland "Joe" Barbera (/bɑːrˈbɛrə/ bar-berr-ə or /ˈbɑːrbərə/ bar-bər-ə; Italian pronunciation: [barˈbɛːra]; March 24, 1911 – December 18, 2006) was an American animator, director, producer, storyboard artist, and cartoon artist, whose film and television cartoon characters entertained millions of fans worldwide for much of the 20th century.
Through his young adult years, Barbera lived, attended college, and began his career in New York City. After working odd jobs and as a banker, Barbera joined Van Beuren Studios in 1932 and subsequently Terrytoons in 1936. In 1937, he moved to California and while working at Metro-Goldwyn-Mayer (MGM), Barbera met William Hanna. The two men began a collaboration that was at first best known for producing Tom and Jerry and live action/animated hybrid films. In 1957, after MGM dissolved their animation department, they co-founded Hanna-Barbera, which became the most successful television animation studio in the business, producing programs such as The Flintstones, Yogi Bear, Scooby-Doo, Top Cat, The Smurfs, Huckleberry Hound and The Jetsons. In 1967, Hanna-Barbera was sold to Taft Broadcasting for $12 million, but Hanna and Barbera remained heads of the company until 1991. At that time, the studio was sold to Turner Broadcasting System, which in turn was merged with Time Warner, owners of Warner Bros., in 1996; Hanna and Barbera stayed on as advisors.
Hanna and Barbera won seven Academy Awards and eight Emmy Awards. Their cartoon shows have become cultural icons, and their cartoon characters have appeared in other media such as films, books, and toys. Hanna-Barbera's shows had a worldwide audience of over 300 million people in the 1960s and have been translated into more than 20 languages."
"Joseph Barbera was born at 10 Delancey Street in the Little Italy (Lower East Side) section of Manhattan, New York, to immigrants Vincent Barbera (of Italian origin) and Francesca Calvacca, born in Sciacca, Agrigento, Sicily, Italy, and he grew up speaking Italian.:17–18, 58, 128, 208 His family moved to Flatbush, Brooklyn, New York when he was four months old.:17–18, 58 He had two younger brothers, Larry and Ted, both of whom served in World War II. As a member of the United States Army, Larry participated in the invasion of Sicily. Ted was a fighter pilot with the United States Army Air Forces and served in the Aleutian Islands Campaign.:91–95 Barbera's father, Vincent, was the prosperous owner of three barbershops who squandered the family fortunes on gambling.:19 By the time Barbera was 15, his father had abandoned the family and his maternal uncle Jim became a father figure to him.:22–24
Barbera displayed a talent for drawing as early as the first grade.:25–26 He graduated from Erasmus Hall High School in Brooklyn in 1928.:23 While in high school, Barbera won several boxing titles. He was briefly managed by World Lightweight Boxing Champion Al Singer's manager but soon lost interest in boxing.:30–32 In 1935, Barbera married his high school sweetheart, Dorothy Earl. In school, they had been known as "Romeo and Juliet".:28
Barbera and his wife briefly separated when he went to California. They reunited but were on the verge of another separation when they discovered that Dorothy was pregnant with their first child. They had 4 children: two sons (Neal and an infant boy who died two days after his birth) and two daughters (Lynn and Jayne). The marriage officially ended in 1963.:58, 61, 66, 90, 129 Shortly after his divorce, Barbera met his second wife, Sheila Holden, at Musso & Frank's restaurant, where she worked as bookkeeper and cashier. Unlike Dorothy, who had preferred to stay at home with the children, Sheila enjoyed the Hollywood social scene that Barbera often frequented.:137–139, 147"
"During high school, Barbera worked as a tailor's delivery boy.:28 During the Great Depression, he tried unsuccessfully to become a cartoonist for a magazine called The NY Hits Magazine. He supported himself with a job at a bank, and continued to pursue publication for his cartoons. His magazine drawings of single cartoons, not comic strips, began to be published in Redbook, Saturday Evening Post, and Collier's—the magazine with which he had the most success.:35–36 Barbera also wrote to Walt Disney for advice on getting started in the animation industry.:105 Disney wrote back, saying he would call Barbera during an upcoming trip to New York, but the call never took place.:38
Barbera took art classes at the Art Students League of New York and the Pratt Institute and was hired to work in the ink and paint department of Fleischer Studios. In 1932, he joined the Van Beuren Studios as an animator and storyboard artist.:38–42 He worked on cartoon series such as Cubby Bear and Rainbow Parades, and Tom and Jerry. This Tom and Jerry series starred two humans; it was unrelated to Barbera's later cat-and-mouse series. When Van Beuren closed down in 1936, Barbera moved over to Paul Terry's Terrytoons studio.:53–54
In 1935, Barbera created his first solo-effort storyboard about a character named Kiko the Kangaroo. The storyline was of Kiko in an airplane race with another character called Dirty Dog. Terry declined to produce the story. In his autobiography, Barbera said of his efforts ...
"I was, quite honestly, not in the least disappointed. I had proven to myself that I could do a storyboard, and that I had gained the experience of presenting it. For now, that was enough."
Lured by a substantial salary increase, Barbera left Terrytoons and New York for the new Metro-Goldwyn-Mayer (MGM) cartoon unit in California in 1937.:58–59:106 He found that Los Angeles was suffering just as much from the Great Depression as Brooklyn and almost returned to Brooklyn.:201
Barbera's desk was opposite that of William Hanna. The two quickly realized they would make a good team.:Foreword By 1939, they had solidified a partnership that would last over 60 years. Barbera and Hanna worked alongside animator Tex Avery, who had created Daffy Duck and Bugs Bunny for Warner Bros. and directed Droopy cartoons at MGM.:33:18
In 1940, Hanna and Barbera jointly directed Puss Gets the Boot, which was nominated for an Academy Award for Best (Cartoon) Short Subject. The studio wanted a diversified cartoon portfolio, so despite the success of Puss Gets the Boot, Barbera and Hanna's supervisor, Fred Quimby, did not want to produce more cat and mouse cartoons believing that there were already enough cartoons of those in existence.:75–76 Surprised by the success of Puss Gets the Boot, Barbera and Hanna ignored Quimby's resistance:45 and continued developing the cat-and-mouse theme. By this time, however, Hanna wanted to return to working for Ising, to whom he felt very loyal. Barbera and Hanna met with Quimby, who discovered that although Ising had taken sole credit for producing Puss Gets the Boot, he never actually worked on it. Quimby then gave Hanna and Barbera permission to pursue their cat-and-mouse idea. The result was their most famous creation, Tom and Jerry.:78–79
Modeled after the Puss Gets the Boot characters with slight differences, the series followed Jerry, the pesky rodent who continuously outwitted his feline foe, Tom. Hanna said they settled on the cat and mouse theme for this cartoon because "we knew we needed two characters. We thought we needed conflict, and chase and action. And a cat after a mouse seemed like a good, basic thought." The revamped characters first appeared in 1941's The Midnight Snack.:46 Over the next 17 years, Barbera and Hanna worked exclusively on Tom and Jerry, directing more than 114 popular cartoon shorts. During World War II, they also made animated training films.:92–93 Tom and Jerry relied mostly on motion instead of dialog. Despite its popularity, Tom and Jerry has often been criticized as excessively violent.:42:134 Nonetheless, the series won its first Academy Award for the 11th short, The Yankee Doodle Mouse (1943)—a war-time adventure. Tom and Jerry was ultimately nominated for 14 Academy Awards, winning 7. No other character-based theatrical animated series has won more awards, nor has any other series featuring the same characters. Tom and Jerry also made guest appearances in several of MGM's live-action films, including Anchors Aweigh (1945) and Invitation to the Dance (1956) with Gene Kelly, and Dangerous When Wet (1953) with Esther Williams"
"Two young squirrels ask their grandfather (Voiced by Mel Blanc-uncredited) on Christmas Eve who the "men" are in the lyric "Peace on Earth, good will to men." The grandfather squirrel then tells them a history of the human race, focusing on the never-ending wars men waged. Ultimately the wars do end, with the deaths of the last men on Earth, two soldiers shooting each other, one shoots the other soldier and the injured soldier kills the last, but dies as he sinks into watery foxhole as his hand grasp into water. Afterwards, the surviving animals discover a copy of an implied Bible in the ruins of a church. Inspired by the book's teachings, they decide to rebuild a society dedicated to peace and nonviolence (using the helmets of soldiers to construct houses). The cartoon features an original song written to the tune of "Hark! The Herald Angels Sing."
"Fred Quimby, William Hanna and Joseph Barbera remade the cartoon in CinemaScope in 1955. This post-World War II version of the film, entitled Good Will to Men, featured updated and even more destructive forms of warfare technology such as flamethrowers, bazookas, missiles and nuclear weapons. This version used a choir of mice as the main characters including a Deacon mouse who tell the story to his charges (voiced by Daws Butler-uncredited), and also had more direct religious references (though the Bible is simply referred to as the book of humans' rules in both, Good Will to Men includes a reference to the New Testament, while Peace on Earth only includes verses from the Old Testament). This new version was also nominated for the Best Animated Short Subject Oscar. This was the only non-Tom and Jerry CinemaScope cartoon shorts to be produced by Fred Quimby before he went into retirement."
Compare the film, Good Will To Men To This:
There was a white mouse consultation
Down at the county fair
All the church mice, field mice and not
So nice mice
Everybody gathered there
You see the muckidy muck he was
Speakin', tellin' them where it was at
He said hear, hear there ain't nothin' to fear
Except a three eyed Siamese cat
And the crowd was stunned
See, no single mouse had ever seen one
He said don't be scared
Then he held up a great big picture
So every mouse could see
What a three eyed Siamese cat looked like
The face of the enemy
And the crowd let out such a shudder
As they lined up file and rank
Starin' at a twenty foot picture frame
Surroundin' a twenty foot blank
Just empty space
But every single mouse
Swore he saw a face
He said don't be scared
Then the muckidy much started screamin'
Yellin' till his voice gave out
He said now that you've seen what the
Cat looks like
Gonna tell you what he's all about
He said he don't eat cheese on Friday
And he goes around lickin' his paws
He's awful mean and he loves to keep clean
And believes in changin' laws
And the crowd went wild
And every mouse began to fear for his child
Now two times two is forty-five
The muckidy muck explained
And the flat side of the moon is green
And the farmer don't need no rain
And the night is light and might is right
And Supermouse is on our side
And the three eyed Siamese cat's a plague
From which nobody can hide
And the mice all cringed
The whiskers of that cat would soon
Don't be scared
Then the muckidy muck started singin'
Through his great paternal grin
And the church mice, field mice
All the patriotic mice
Everybody chimed right in
They sang this land is mice land
Mice country tis of thee
Well my father took it from the beaver rat
Nobody's gonna take it from me
And the mice all cheered
The sound that they were makin' sure
Don't' be scared
Today's Cartoons Are Huge Money Making CGI Productions
Then the muckidy muck said line up here
Everybody give a buck
To fight the three eyed Siamese cat
And a little bit of luck
We've got a million of our best young mice
To go out and volunteer
To give up what they're livin' for
To make the cat disappear
Let's give 'em a hand
We don't want that cat invadin' our land
We're not scared
Then a mighty strange thing happened
Guess you could call it fate
You see, a gust of wind blew the picture
And it landed on the muckidy muck's head
And the mice they all went crazy
For the first time they saw the lie
It was all a hoax on just simple folks
And the muckidy muck must die
And die he did
The members of his staff they just fled
They were scared
Just not prepared.
A Wargaming Fantasy Role Playing Peak At The Early 1980's:
A "Illuminating" Ad.
We'd Assume Someone Knew Something About How Things Really Work and Snuck Some Truth Out In a Silly Sort of Game.
Out theory is the roleplaying game market was created by some part of the Military Industrial Complex in one form or another. Either that or these guys were either Freemasons, University types of one kind or another, or spent a lot of time in really good libraries. The game is based on a novel so that might be a clue or not. The echo chamber like nature of our media saturated culture means we end up propagating ideas that may have more meaning than we realize, that includes professional creative types like authors, as well as the average person.
"Illuminati is a standalone card game made by Steve Jackson Games(SJG), inspired by the 1975 book, The Illuminatus! Trilogy, by Robert Anton Wilson and Robert Shea. The game has ominous secret societies competing with each other to control the world through sinister means, including legal, illegal, and even mystical. It was designed as a "tongue-in-cheek rather than serious" take on conspiracy theories. It contains groups named similarly to real world organizations, such as the Society for Creative Anarchism and the Semiconscious Liberation Army. It can be played by two to eight players. Depending on the number of players, a game can take between one and six hours."
April 1982 Issue of TSR's Roleplaying Game Magazine Marketed Towards Young Adult and Adult "Gamers"
This magazine focused on the Advanced version of the game sold in book stores and game shops and marketed towards a highs cool and older crowd as opposed to the basic boxed versions sold in toy stores, those were marketed for a younger demographic.
BTW: LIzardmen were a common D&D monster back in the proverbial day.
THE U.S. Government & Cartoon Reasoning & Your Tax Dollars at Work:
"The Stargate Project was the code name for a secret U.S. Army unit established in 1978 at Fort Meade, Maryland, by the Defense Intelligence Agency (DIA) and SRI International (a California contractor) to investigate the potential for psychic phenomena in military and domestic intelligence applications. The Project, and its precursors and sister projects, went by various code names — GONDOLA WISH, GRILL FLAME, CENTER LANE, SUN STREAK, SCANATE — until 1991 when they were consolidated and rechristened as "Stargate Project".
Stargate Project work primarily involved remote viewing, the purported ability to psychically "see" events, sites, or information from a great distance. The project was overseen until 1987 by Lt. Frederick Holmes "Skip" Atwater, an aide and "psychic headhunter" to Maj. Gen. Albert Stubblebine, and later president of the Monroe Institute. The unit was small-scale, comprising about 15 to 20 individuals, and was run out of "an old, leaky wooden barracks".
The Stargate Project was terminated and declassified in 1995 after a CIA report concluded that it was never useful in any intelligence operation. Information provided by the program was vague, included irrelevant and erroneous data, and there was reason to suspect that its project managers had changed the reports so they would fit background cues. The program was featured in the 2004 book and 2009 film entitled The Men Who Stare at Goats, although neither mentions it by name."
READY TO EXIT THROUGH THE "STARGATE"?
The SRI International Institute would seem to be the source of the "environmental movement" (as we know it today), that continues to sell the public the wrong kind of environmental stewardship. Global warming and ozone holes and other News media promoted, University and think tank supported appeals to external authority are sold as fact and most of us eat it up. These are the tools for keeping us thinking we need to pay even more intakes, fees and fines and possible jail time, than ever before. After all, "We" are all responsible for large scale commercial pollution, right? Climate change is a joke and one that relies on us ignoring our senses and memories and common sense in favor of the media promoted "peer reviewed & revised" fairytale, sold as "science". Whatever the deal is or isn't with so-called "climate change", big business would be logically responsible for it, not most of us, who will end up paying for it all, as usual., whether the "crisis" is real or not.
SRI would seem to be an institute devoted to social engineering.
"The institute performed much of the early research on air pollution and the formation of ozone in the lower atmosphere. SRI sponsored the First National Air Pollution Symposium in Pasadena, California, in November 1949. Experts gave presentations on pollution research, exchanged ideas and techniques, and stimulated interest in the field. The event was attended by 400 scientists, business executives, and civic leaders from the U.S. SRI co-sponsored subsequent events on the subject."
"In the early 1950s, Walt and Roy Disney consulted with SRI (and in particular, Harrison Price) on their proposal for Disneyland in Burbank, California. SRI provided information on location, attendance patterns, and economic feasibility. SRI selected a larger site in Anaheim, prepared reports about operation, and provided on-site administrative support, and acted in an advisory role as the park expanded. In 1955, SRI was commissioned to select a site and provide design suggestions for the John F. Kennedy Center for the Performing Arts.
In 1952, the Technicolor Corporation contracted with SRI to develop a near-instantaneous, electro-optical alternative to the manual process of timing during film copying. In 1959, the Academy of Motion Picture Arts and Sciences presented the Scientific and Engineering Award jointly to SRI and Technicolor for their work on the design and development of the Technicolor electronic printing timer which greatly benefited the motion picture industry. In 1954, Southern Pacificasked SRI to investigate ways of reducing damage during rail freight shipments by mitigating shock to railroad box cars. This investigation led to William K. MacCurdy's development of the Hydra-Cushion technology, which remains standard today."
"SRI International (SRI) is an American nonprofit research institute headquartered in Menlo Park, California. The trustees of Stanford University established SRI in 1946 as a center of innovation to support economic development in the region.
The organization was founded as the Stanford Research Institute. SRI formally separated from Stanford University in 1970 and became known as SRI International in 1977. SRI describes its mission as creating world-changing solutions to make people safer, healthier, and more productive. It performs client-sponsored research and development for government agencies, commercial businesses, and private foundations. It also licenses its technologies,forms strategic partnerships, sells products, and creates spin-off companies.
SRI's annual revenue in 2014 was approximately $540 million. SRI's headquarters are located near the Stanford University campus. William A. Jeffrey has served as SRI's president and CEO since September 2014.
SRI's focus areas include biomedical sciences, chemistry and materials, computing, Earth and space systems, economic development, education and learning, energy and environmental technology, security and national defense, as well as sensing and devices. SRI has received more than 4,000 patents and patent applications worldwide"
Welcome to The Post World war Two World
Programming Minds With Cultural (cult) Cool - Aid,