#shark week sketch jam
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Here’s all 8 of my sharks from #sharkweeksketchjam ✨🌈
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Catching up !! First up is Lemon Shark <3
@sharksketchjam #sharkweeksketchjam
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Day 3: Whitetip Reef Shark 🥨✨
A sweet white chocolate dipped friend!
id: A whitetip reef shark colored a soft brown. Its white tipped fins and underbelly look like melty white chocolate as it swims against a coral pink splash of color. It bites off a piece of a white chocolate covered pretzel, surrounded by text that reads “Whitetip Reef shark.” end id.
#artists on tumblr#art#shark#whitetip reef shark#sharks#marine biology#biology#shark week sketch jam#dessert#food
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It’s #sharkweeksktchjam on Twitter and I’ve been able to keep up so far!!
In order:
-Lemon Shark
-Chain Catshark
-Whitefin Reef Shark
#original art#procreate#ipadillustration#original work#original character#cute#animals#furry#cutie patootie#sharks#shark week#shark week sketch jam#lemon shark#chain catshark#white fin reef shark#whitefin reef shark
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Day 3 of Shark Week Sketch Jam: White Tip Reef Sharf
Keeping up with my pattern for the week and giving a reef shark a little coral reef to chill in :)
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commission list | patreon
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🦈 Shark Week Sketch Jam Day 5 - Kitefin Shark 🪁
He sees dead fishes.
#sharkweeksketchjam#shark week#shark#kitefin shark#animals#animal art#wildlife#wildlife art#vetdraws#art#digital art
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SHARK WEEK 2019
A really fun year! Another shark week, another 8 sharks! I drew this as apart of my instagram challenge, Shark Week Sketch Jam! Started on DA a while ago the group died down- so I decided to try and revive it on Insta. Come back next year and follow the account there at Sharkweeksketchjam for more fun!
Good boys and girls this order:
1. Winghead Shark
2. Smooth Lanternshark
3. Sharptooth Houndshark
4. Atlantic Weasel Shark
5. Night Shark
6. Necklace Carpetshark
7. Tasseled Wobbegong
8. Broadnose Sevengill
#sharks#shark week#shark week sketch jam#sharkweeksketchjam#nature#nature art#illustration#shark art#shark illustration
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catching up on some more stuff from my Twitter, this is from shark week sketch jam back in July! an angelic angel shark and their pilot fish friends 🦈😇💞
#shark#angel shark#shark week#zooart#artists on tumblr#art#digital art#digital illustration#marine art#angel#angel oc#biblically accurate angel#fish#ophanimart
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happy shark week!!! :-D
ive been participating in the shark week sketch jam over on twitter and instagram!!!!
if you wanna see these sharks soon as i post them, consider checking me out there (@ turboemmy) for more fun ocean friends !!!!
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Soundrs: DJ CYBERDAD
My name is John Verchot, I’ve released music under several names: J-chot as well as DJ CYBERDAD. Locally, I’m usually just billed as DJ Verchot. I feel like the first thing I should tell you about myself is that I have severe ADHD, which seems to be the single most consistent force guiding my art and existence. I often get distracted and always get ahead of myself when I try to explain things. DJ CYBERDAD started out as a funny pseudonym to release more profane songs that I didn’t want my son to hear, but changed into an outlet for my smoother dance jams as well as more introspective music.
What are your inspiration sources?
It varies from project to project. Often times with tracks, the inspiration to work on them comes in two or three different phases. Inspiration to create sounds is one thing, as inspiration to finish and structure tracks, create moods/themes, or even package them into a finished project, all feel like different driving forces/processes that need to happen in order for me to get anything done. However, whichever one of those forces I am able to utilize when I sit down at my laptop often seems to be beyond my control.
Most times I’ll hear a sound, loop or phrase, I’ll start to wonder what I can do with it, or how I can change and manipulate it. It might be the timbre of an old instructional video’s narrator, or an odd metallic sound I’ve managed to coax out of some equipment. Occasionally I’ll think of a concept, either of overall sound or thematic content and before I know it, I’ve got half a track planned out in my head. Many times I’ll hear other tracks or songs, and want to use just one part/concept/sound or re-do the whole track differently. With “Emotional in Destin”, I was trying to convey moods or feelings I felt during an unexpected trip to Florida in the middle of a crushing depression. It sounds bizarre, but I've never channeled personal experiences into my music before.
Overall what inspires me to create different sounds is the novelty of technology and bits and other people’s music.
What makes me want to sit down and make music is personal or professional success.
What inspires me to finish tracks and projects is the distant white noise of overwhelming anxiety and dread setting in as the ennui of the imminent collapse of western society fades giving way to the dark, almost imperceivable thrumming of the void drawing nearer, and is definitely getting louder. Your “time” is almost up John. Did you even do anything, or are you too skiddish and feeble of heart and head to make any clear decisions, impulsively flitting from one animal urge to another bad habit, clogging the chemical receptors of your brain for simple stupid pleasure. It’s night now and your eyes and fingers grow weary…
What was the question again?
Tell us something about your workflow.
Most times, it starts with just noodling around. Sometimes, it’s with synths and sequencers, either recording sounds or looping notes and tweaking/loading patches (virtual or real synths), sometimes I’m browsing potential sample material, but what happens next is the same regardless of how I’m making sounds or what I’m doing:
…I think hear something.
…And I STOP noodling. Basically, I either hear something I like, or I hit a riff or whatever and it’s like a tiny, tiny light bulb that blinks barely. Occasionally it’s like a hundred watt, and other ideas quickly fall into place. Most times, it’s a process of trial and error, but I’m making sure to document or isolate the little pieces that click and then attempt to refine or improve on those ideas. Ideas can quickly diverge, multiple sets with different names get saved, and I often jump around and get lost. I use color coding on clips and pieces in Ableton to help me sort those ideas. Some ideas form by running one sequence I’ve had already through a whole different synth/patch.
Very rarely, I’ll get a concrete idea while I’m driving, maybe I’ll make some notes on my phone (text to speech notes, voice recording).
When I get a spark that makes me imagine a full concept (“Charles Nelson Riley”, or that “My P**sy tastes like Pepsi Cola” remix for example), the track is formed VERY quickly (four to eight hours working time) and I finish the mix, structure, everything. This is rare, but these tracks are almost always my better material.
The next step is always the same: Let the track “cool-off”. Leave it alone. Do something else for a few days, or weeks… or in some cases, years… Then I’ll fuck around with it even more, or move on to:
STRUCTURE & MIXING:
I look for/experiment with arrangements that compliment my DJ style, or allow someone to do a rough edit if they want, (breakdowns at the end), or I’ll load a track that I like to DJ that’s similar enough and I will STRAIGHT UP copy the song structure in terms of intro, (drums or keys?) repeating bits, breakdowns, outros… Most times I fuck with it until it sounds okay, which is kinda bad because I end up drastically overscrutinizing it.
When it comes to mixing, something that I should do more often but don’t is load a reference track (someone else’s track) and try to get my mix to sound like theirs… This technique REALLY helps stop “nasty surprises” when you listen to it on a big system, or in the car.
Most of the time, I’ve been tweaking the mix the entire time I’ve been working on the project.
TL;DR
The “Emotional in Destin” EP is almost entirely soft synths, but lately my flow is:
1. dick around on hardware
2. “oh that sounds good, let me make another sound to go with it” (see step 1)
3. record a few pieces to an Ableton project.
4. “I don't know what to do now.” …maybe mixing or structure…
…almost ALL THE TIME, however I jump around and do everything very non-linearly. Hardware helps me not spend so much time tweaking patches or EQ-ing a snare drum for an hour. Texture is SUPER important to me, so I’ll often get hung up on EQ and compression before I even start on structure or mixing.
How would creative rituals benefit your workflow?
The hardest part for me is ALWAYS ALWAYS ALWAYS getting started, or shifting gears from other activities (resting after work, reading tumblr, goofing off…) and going to sit down at my desk and start music stuff. I’m certain it’s an executive dysfunction thing. The less I think about doing it before I do it, the better.
Animal sacrifice SIGNIFICANTLY speeds things up. Try not to get blood on the gear/laptop, and make sure never to clean, but regularly sharpen the ceremonial dagger (VERY important).
How do you get in the zone?
I don’t really try…
As soon as I start to approach a task as “a thing” I get nervous and anxious. If I go “okay, I’ve got this task to complete…” my subconscious hijacks my higher functions to make me look at memes or tumblr for three hours instead of do what I “should” or “want”… The problem with me in the past has been how do I get OUT of the zone?
How do you start a track?
Oh jeez, I really jumped the shark with that question earlier, didn’t I? A technique I’ll sometimes employ is load up an old track, keep the drum sounds/patches but delete all the data, and make an entirely different genre of track… or one that's very similar… That’s kind of a fun exercise if nothing else. Also it often winds up getting tweaked and adjusted to hell and back.
Do you have a special template?
Nope. I make TONS of drum, EQ, and effects presets though. And they all have terrible names like “gooddrums”, “$GOODrums” and such.
Even though I’ve started with carbon copies, they ALWAYS end up sounding completely different by the time I’m finished with the track, because I can’t leave em well enough alone.
What do you put on the master channel?
Sometimes EQ, but always a phat ass compressor (limiting). I’ve been thinking about investing in a nice non-free one lately, but for some reason I am not comfortable with purchasing software plugins… I also have learned recently, that I’ve been using compression on the individual tracks way too much… which makes final-mixing a pain in the ass.
How do you arrange and finish a track?
DAMN IT. I really did go too hard with the first couple questions. The “finishing” of a track for me (arrangement, mixing) is usually done much later than the rest of the process. I try not to force stuff, but lately I’m realizing more and more that I need to not do this as much.
I can’t stress enough how using a reference track for structure or mixing can very often break up stagnation on a project.
How do you deal with unfinished projects?
Several ways. The first step is to judge an old file and see if it's worth finishing. If there is ANYTHING of creative/sonic merit, I put it in a folder with the other “sketches and ideas” (project graveyard). Otherwise, I have been trying to delete the “junk” projects… this can make it easier to focus. Another thing I often do is to make presets/patches/Ableton instruments from the parts I like, then drop it in a folder called “meh”. Or I drop them into several categorical folders, i.e.: “uncircumcised electro bangers”, “abrasive techno”.
How do you store and organize your projects?
Aw jeez. Oh gosh-oh darn. (See above answer.)
How do you take care of studio ergonomics?
Trial and error, trial and error, trial and error. This year alone my studio has been restructured and moved about my downstairs room at least five times. I’ve finally settled on something that feels very useful and productive. I am also this way with my work station at my job. CHANGE IT UNTIL IT WORKS GREAT. This can also help with creative stagnation, or can trigger it, so be careful. I keep my “electronics laboratory” close at hand so that more of that tinkering can find it’s way into my music… no such luck, YET.
I’ve currently decorated my space with all the crap I’ve saved up over the years, that for some reason, I’ve looked at this and thought: “This makes me happy” …SUUURE, my studio now looks like a fourteen year old decorated it, but I gotta say, I feel pretty phenomenal. Soon I’m gonna try to put this “stars and space” wall paper on my ceiling… I’ll update with a photo when that’s done.
Also I would like to say:
Minimalist spaces and studios are bullshit, y’all look like sick baby birds in empty shoe-boxes.
I mean, NOBODY LIVES THAT WAY, right? Maybe some boring rich people do, but damn… I mean, I try to clean and stay organized… and it helps, but I also try not to get to hung up on it.
Tell us something about your daily routine, how is your day structured, how do you make room for creativity?
**LOUD SUCKING SOUND THROUGH TEETH** I don't… at least, not very well at all… but I’m working on that.
I am not the person you should ask this question, because THIS RIGHT HERE is the BANE of my existence…
Share a quick producing tip.
MAN, I’ve already dropped like… seven, but okay, here goes:
BY ANY MEANS NECESSARY, FINISH THE TRACK. For me, this means ghetto-rigging, DIY, using the same goddamn audio interface from 2002 for f****ng fifteen YEARS… (recently fixed) don’t get hung up on “proper” ways, or ways that are outside your current means. Also, get a set of decent monitors… or use several pairs of headphones/speakers to double check mixes.
Recently, I’ve had less time, but a little bit of money, which is the opposite of how I’ve ALWAYS operated… it’s been difficult to unlearn “time consuming but cheap”. Also difficult not to impulse buy synths.
Making music with just a mouse and keyboard may be the least sexy thing ever… it works tho… cheap MIDI controllers CAN work faster however.
Share a link to an interesting website (doesn’t have to be music related).
My son just showed me this ➜ https://dddance.party/ and I have to say, this is an outstanding achievement of mankind.
List ten sounds you are hearing right this moment : )
Traffic outside my window, gentle hum of laptop cooling fan, dog snoring, fingers typing, birds chirping… that’s it.
John has a lo-fi house EP out on UltraBold Records as DJ CYBERDAD. It’s called ‘Emotional in Destin’. Stream it ➜ here, audio cassettes are available ➜ here.
Thanks John! If you want to get featured next, send a message here on tumblr or email [email protected].
#soundrs#soundrooms#interview#inspiration#workflow#workspace#creativity#electronic music#House Music#lofi#producers#producer#audio production#music producers#music producer#Music Production#audio producer#audio producers#dj cyberdad#ultrabold#ultrabold records
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Basic Bulletin
I had such a lovely birthday week but today reality has hit and I’m in pieces. Anyway, good vibes and good thoughts only...
1) Tried on my entire outfit for Robert’s wedding and I am actually so pleased with it - everything works so well together despite each piece being from a different shop. I can’t wait actually :)
2) Bought some lush new tea lights to put into my hedgehog candle I light up when I have a bath. They smell amazing and I got 27 of them for just a quid!
3) I had an enormous chippy lunch on Friday at work and Rachael birthdayed my desk with banners! Everyone in the office signed me a card too (Danny drew a shark and wrote the Meg on it... lmao)
4) Went for some birthday drinks at the local with Mum and Dad and we had a right laugh. Then we went tenpin bowling in MK and I beat them both on the first game which was my goal for the night. I only got one strike but considering my wrists are knackered I thought I played top banana!
5) I had the most delicious brunch on my birthday in Woburn Brasserie - smashed avocado and poached eggs on sourdough - was to die for!
6) I received some beautiful gifts I am so thankful and so lucky. Highlights include a van gogh painting, a pop up van gogh sunflower card, a sunflower necklace, perfume, a gorgeous bunch of flowers, and an exact replica of Kate Winslet’s green butterfly hair comb from the Titanic movie.
7) I went browsing through antique shops in Woburn and Haversham for bargains and I bought myself a real silver turtle brooch, a little porcelain tortoise for the collection, a tile of van gogh’s room painting, and a sketch of a pan pipe player. Successful haul !
8) I had a few celebratory birthday drinks with Darren at thrupp wharf on the grand union canal.
9) Took a little drive out to Cranfield for some tea and scones with jam.
10) Had my work anniversary this week - been selling bubble wrap for a whole year now! It’s had it’s ups and downs but I couldn’t ask for a better team - Rach and Irina are great, and the warehouse guys always put a smile on my face when I’m having a bad day although I’m pretty sure Darren and Steve will soon start charging me for all the cups of tea they make me.
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Manny The Uncanny Oral History Transcript
00:07 Speaker 1: When you're a kid, there's a few television moments that make you say, "What the hell was that?" Those shocking moments in which you're exposed to something wholly different than you've ever experienced. This doesn't occur often because most television shows created for kids are trying to replicate what has already worked in the past. It's why after a juggernaut like Ninja Turtles you get Biker Mice from Mars, Street Sharks and Moo Mesa. Children's television breaks with the old adage, "everything old is new again". Instead it's everything new is new again. In addition as a child, you are limited in what you can see. Your movies generally go up to PG, PG-13 if your dad was cool or if your older brother was cool, and NC-17 if your grandmother was weird. Profanity, sex, and violence are beyond your cultural scope. Not to mention as a kid you don't have the cultural framework or vocabulary to describe what you've seen. It's a purely internalized experience of the weird. That's why when there's something truly different it's so memorable. In the '90s, Manny the Uncanny definitely falls within this distinguished, "what the hell" category. Not only because he's weird; he certainly is, but because this...
01:21 Speaker 2: Why don't you go talk to the head potty guy? Come on! And Mr. Jim Langely, the head potty guy, is going to be telling us all about what happens with our potty bits. Tell me about potty bits.
01:32 Speaker 3: Potty bits?
01:33 Speaker 2: Potty bits.
01:33 Speaker 3: Potty bits.
01:34 Speaker 2: Grandma's trousers!
01:38 Speaker 1: Was on a Disney-branded Saturday morning. It begs repeating, What the hell? This character creation comes from the brilliantly deranged mind of Paul Rugg, and he spent the majority of his adult life making your childhood strange. But first a little history. Steven Spielberg has made several attempts to be Walt Disney. There was An American Tail, which eventually launched his own animation company Amblimation. There was Roger Rabbit and the Roger Rabbit shorts. And of course there was his most famous endeavor, DreamWorks. And yes, he's not Walt Disney, but he's damn close. And what puts him even closer to the heights of Walt Disney's pencil thin moustache was his run at Warner Brothers Animation in the '90s.
02:24 Speaker 1: It had been 20 years since the studio had created an animated short. The days of Termite Terrace were long gone, and that's where Spielberg saw opportunity. He thought maybe a Looney Tunes movie would work, and was working on one in 1987 about young Tunes learning from the greats at the Acme Academy, but it never panned out. Instead, the movie was put into television development, which was better suited for the wonderful short form zaniness of the Looney Tunes, and thus Steven Spielberg Presents Tiny Toon Adventures was born.
02:55 Speaker 1: The show borrowed the Disney television animation model and infused historically cheap television animation with cash resulting in smoother animation and live orchestration for every show. Before the first episode, $25 million had been spent on Tiny Toons. After all, there was a daunting legacy to live up to, and it did. In its second year it was beating Darkwing Duck, Ninja Turtles, and DuckTales. Buoyed by that initial success, Spielberg and Warner Brothers Animation created the Animaniacs, which gracefully captured the essence of the old Looney Tunes classics, that have long evaded reproductions. Because the classic Looney Tunes shorts are perfection. That's not an exaggeration or an opinion; they are perfect. If you're a non-believer, imagine writing a joke that's still funny 70 years later. Imagine doing animation 70 years ago that is still seen as some of the best to this day, which is why its spirit has been so difficult to recapture. But the Animaniacs are the closest thing to the Looney Tunes since Looney Tunes. An integral part of the team that captured the bygone era was Paul Rugg.
04:02 Paul Rugg: I was in, sort of a offshoot of The Groundlings, called the Acme Theatre, which was founded by some people from the Groundlings. Where the Groundlings was more Hollywood-based, we were more San Fernando Valley-based, just because we were all very lazy and we all live in the San Fernando Valley. I had written some sketches for a show. Sherry Stoner, her partner Mark Sweeney, he was the director, and she started liking my stuff along with John McCann, and she said, "You know, I think you should come and we're developing this show." And I was like, "Oh, okay." And I didn't really know what they were talking about. They sent over a bible, which is everything about the characters, what the characters are. And I think I read that a couple weeks, and so did John McCann. And then we went in to meet Tom Ruegger to just get one script. He sort of told us more about characters, that they were very similar to the Marx Brothers, which is all I really needed to know. Over a week sort of wrote one and then got hired the day I turned it in, and that was it. When I saw that all of the scripts were being sent to Steven and we were waiting for his approval, and then I was like, "Wow, so he's gonna read these, huh?"
05:15 Paul Rugg: When they started doing the auditions, backgrounds, he was... We're always pending Steven's approval, so after a time I was like, well, he really does read this stuff, and he looks at this stuff and he listens to the record. And then I'd written something that never actually made it, but he sent me a memo saying, "That was really funny," so I was like, "Wow, he really is reading this stuff! My gosh, this guy really is involved". We really were writing for ourselves, and luckily he sort of liked that style. We never wrote for him, or oh, he likes this or he likes that, we were just doing what we thought was funny. And luckily he was liking it.
06:01 Paul Rugg: Once or twice, I think I might have written a joke and Tom Ruegger would say, "There's no way a kid's gonna know what that means," and I remember changing it. But maybe that happened twice out of all the scripts that I wrote. So, no, we never really thought about kids. We always wanted to keep it clean, but I can't remember ever catering a joke or a line or any of the ideas for a kid. I remember we did a parody of... Not of Apocalypse Now, but the documentary that Coppola's wife made about his making of Apocalypse Now, which is so totally obscure, and it was like, yeah, make that. So [laughter] I don't think... If we were really writing for kids, we never would have done that.
06:47 Speaker 1: Then there was Freakazoid! Which Paul voiced, wrote, and eventually produced. Freakazoid! Came along during two major changes, Time Warner would create The WB, and the Warner Brothers Animation shows would be transferred from Fox Kids to the new network. And the second, Spielberg made his final attempt to become Uncle Walt.
07:07 Paul Rugg: They were developing Freakazoid! For Steven. It was Bruce Timm and Paul Dini, and Steven wanted to take a really quirky turn and make it more very, very comedy-based. Tom Ruegger took over, and then he took John McCann and I off of Animaniacs and said, "You know, you really gotta help me, this show airs in like eight months, we don't have anything." By that time, I of felt that I had written as much as I could about Animaniacs, and as much as I loved the character I was looking for something new to do, so it was perfect.
07:38 Paul Rugg: The WB just didn't like it at all. I just don't think they liked it, which was a shame because we were having a great time with it, and Steven was really having a good time with it. We would send him a script, he goes, "This is crazy, I can't believe you guys are doing this, this is nuts". So we were all just loving it. But the WB was trying to think about... Well, in the second season, they asked us to do half hour stories in the hopes that it wouldn't be so bizarre. All that really did was [chuckle] give us a license to do more bizarre long-form stuff. Yeah, I don't think they were delighted with what we were doing.
08:20 Paul Rugg: Our demographics were coming in. Well, they weren't coming in right at the sweet spot that they want, we were really appealing to an older group, more high school, college, and some very intelligent younger children. Well, I don't wanna say The WB changed everything, but it did change everything. I think The WB in and of itself was sort of the demise of Warner Brothers Animation as we knew it then. They had a definite agenda, and that was to compete in this broader field of children's television. And they had a certain idea about what that should be. Well, they wanted Pokemon, they wanted... Mighty Morphin Power Rangers was doing really well, they wanted stuff that wasn't what necessarily we were doing. They wanted hits. While I think Warner Brothers Animation was doing very well, you know Animaniacs was doing well, they didn't care what it was, they wanted big hits. And well Freakazoid! , while it was doing really well with the critics and Steven was happy, it didn't fit in their wheelhouse.
09:34 Paul Rugg: They didn't really understand what they had. They had Bugs Bunny, Daffy Duck, they had the golden chest, in my opinion. And then they had the Yakko, Wakko, and Dot. I don't think they ever really truly understood what they had. The way Disney sort of takes care of their characters... I think for reasons that I've never really understood, I think that they didn't really understand the characters. And therefore you got things like Space Jam, which you might like Space Jam, but it was... I remember we all watching and we're like, "Oh my gosh, what are they thinking?"
10:12 Paul Rugg: When he formed DreamWorks, we still had, I think, some Freakazoids left to do, Animaniacs left to do, but we knew that, that sort of partnership was over. And then there was a lot of talk about us all maybe moving over. I think we all got interviews at DreamWorks when they were just starting it, we all went over there and had a meeting. And then some of us decided to go, some of us decided to stay. I was one who decided to stay because I really liked working for Ruegger, I really liked working for Jean MacCurdy. As far as bosses go, they didn't get any better.
10:54 Paul Rugg: We used to work at the Sherman Oaks Galleria, and there was this fountain where we would all... We would go down from the lobby and sit and talk, and I remember sitting there and somebody came up and said, "Hey, Steven's starting this big new thing." And we all went upstairs, and I don't think there was the internet then, but somebody got a copy of Variety and we read it. We're like, "Wow, this is big." And I think... As I recall, we were still doing the first season of Freakazoid! So I started putting that in some of the Freakazoid! Scripts, there's a Lord Bravery script that mentions DreamWorks. And in typical Warner Brothers fashion, we made fun of it because that was our job, so. Nobody was scared, I don't remember being scared because I remember we were really happy working at Warner Brothers and we really liked the anarchy there, but I think maybe people were ready to move on, to try different things.
11:53 Speaker 1: Peter Hastings was a writer who had his fingerprints all over Warner Brothers television animation. And this resume led to Disney putting him in charge of creating the vibe of Disney's, One Saturday Morning. He based the program around Bob McAllister's '70s kids show, Wonderama and Late Night with David Letterman. The colors were bright, the jokes were fast. And if you were wondering if an elephant could crush a blueberry pie with its foot, you could find out here. And within this wonderland train station was a man, a beacon of weirdness, an 11 on the dial, if you will. Manny the Uncanny.
12:32 Speaker 2: How's it going? I'm Manny the Uncanny today with the US Mint in Philadelphia to see how they make the coins. Come inside and don't be lazy. How does, how does, how does it... This is the build, large epoxy quarter. Here it is. This is touching, feelings. It transfered here, into this machine which is drilling it in there. It goes from shrunk down to this, which will make our coin.
12:53 Speaker 5: That's exactly correct.
12:54 Speaker 2: Wow, you learn... So much. Does Amos make you nervous? Okay Tim, now you're... Hey, I'm Manny the Uncanny. Do you ever wonder where all of your potty bits go when you flush them down? It comes here to the sewage treatment plant. Let's go talk to the head potty guy. Come in. Hey, hi there and all of that, this stuff. I'm Manny the Uncanny and today I am at the Bazooka Joe where... Sorry, Joe Blasco Cosmetics where we're going to learn about the make-ups. But not the make-ups for going to market or going to the fishing store, it's the makeup of scariness to be in the movie. So I tell you what, let's...
13:37 Speaker 1: Manny is delivered to each destination by a hot air balloon man, known as Mr. Lighter Than Air. He's suspended below the man's belly by cords that are similar to a baby's jumper. His glasses are thick, his suit God-awful plaid and he looks like a cartoon exiting a dynamite explosion. He's of course not the first bizarre children's TV show host. In fact, Linda Ellerbee and LeVar Burton come to mind as the only normality within this group. At the top of the list is of course, Pee-wee Herman. The voice, the suit, the bike. Strangely enough, his world is so off-kilter that Pee-wee, despite the odds, is the straight man in many of his scenes. A weirdo pointing to bigger weirdos and saying, "Isn't that weird?" In fact, Pee-wee Herman loves who he is and goes home to his amazing house filled with warmth and friends. He's undeniably happy. Manny, on the other hand, is desperately trying to relate in man-on-the-street segments with real people while having a complete inability to do so and lack of understanding of how to do it.
14:40 Speaker 1: And you can't imagine Manny going home to a magical talking chair. Instead his one counterpart is a mechanized cat puppet which you know Manny controls and voices. There's no magic, just desperation and loneliness. Because even though the shows are titled, "Manny Goes to the Mint" and "Manny at the United Nations", they might as well be titled, "Manny tries to make a friend." It's tragic comedy. This isn't Greek by any standard, but there is something incredibly human about this fictional farce that comes from Paul Ruggs's performance, which is real and grounded. But he's playing off the wall insanity.
15:20 Paul Rugg: Because we knew that Freakazoid! Was cancelled. So myself, and John McCann and Doug Langdale were developing a Daffy Duck show based loosely on the Larry Sanders Show where Daffy had his own extravaganza sort of like the old Carol Burnett Show. And it was sort of behind the scenes and in front of the scenes, and then it was clear that the WBJB counter didn't really want anything like that so that's when I decided to leave Warner Brothers. I had shot a couple of things for Peter Hastings who was... Who really wanted me to do Manny the Uncanny for One Saturday Mornings. Manny developed out of a thing I had been doing at Acme. He was this sort of washed up, cruise ship entertainer, he was the worst magician ever. So that's what I would sort of do on stage. And Peter always liked it, and I sort of always liked it, and the audiences always liked it. Which is why [laughter] I was more surprised than anyone that give me... Sort of said we should do it there but that's all Peter.
16:21 Paul Rugg: I mean Peter wanted to have fun, that sort of goes back to what we learned at Warner Brothers. If we think it's fun, hopefully it'll be fun. And then he said, "Well, maybe Manny should just go out and sort of meet people." a la Cole Huaser who was sort of a very famous guy on public television here who used to go out and visit with various people in the LA community. He would go to a bagel maker and spend time with the bagel makers. And we said, "Well let's do the same things." So Manny's segments basically became, where are the really weird places that we can go where Manny can be the world's worst interviewer. So he took a camera while I was working at Warner Brothers and decided to film some stuff of me doing Manny. I guess they really liked that. And I was writing the Daffy show when he asked me to come actually be Manny for the wrap arounds that they were doing, the on set, the whole digital set they had created. So I took two weeks off of Warner Brothers and filmed that. And then, came back to Warner Brothers. And then, I left Warner Brothers because they didn't pick up Daffy. And he called and just wanted to know if I wanted to come be a part of it.
17:38 Paul Rugg: I helped him pitch it. I remember sitting in front of the executives [chuckle] who were sort of horrified because I had dressed up in my whole Manny costume and I was, I was sort of doing my whole Manny act for them. And I don't remember them being very enthused that there was this really weird guy with funny hair in front of them, but. Which was, [laughter] which was kind of funny, but. They were liking it but they didn't wanna be a part of the Act, meaning, executives are very funny, they're like, "Great we like it, just don't put us in the position of having to sit there and be a part of this", they were just more like, "Don't look me in the eye, stop it" and so we was like, I think that day Peter and I learned a very valuable lesson. Never go pitch and sort of make those people you're pitching to part of the act. Because Manny was very abrasive he was very silly and I remember literally picking out people who we're pitching to and these are the big, big wigs and I'm insulting them and they were smiling but you could tell they wanted it to end like now.
18:51 Paul Rugg: Peter and I were having a great time I think we just did the whole thing, we were just having a blast we heard later that you probably shouldn't do that, but then we were Walt... Warners and we were more pushing the boundaries having some fun. Because I helped Tom Ruegger do the same thing at Warner Brothers when he was pitching Hysteria and he had me come as Nostradamus and do my whole act in front of the president of Warner Brothers and they were all very happy about it. So it's just a different culture at Disney it's a little more... I found it to be a little bit tightly wound, let's just say, and the Warner Brothers vibe was a little bit more it wasn't that I had never worked at Disney and so, and I was so stuck in that Warner Brothers we can do anything it never occurred to me that they wouldn't like it. So I was never surprised that we were getting away with it 'cause I didn't know that we were getting away with anything if that makes sense. I didn't know sort of what I know about Disney which is a fine company and stuff but they are definitely hands on and they want it done as a certain way, but back then I don't really remember knowing that.
20:09 Paul Rugg: Well after I left Warner brothers and did other things, I went back in for a meeting once when all of the people that I had sort of known were gone and it felt like walking into Disney and I remember going that's a shame. Because I think it was a very specific time a group of people got together and were just having a great time doing what they were doing. Manny works in very minimal doses. Anything beyond five minutes you sort of are like okay he's really beginning to annoy me which I love but no, we really didn't get any notes the biggest shout was stop screaming and that was it.
20:54 Paul Rugg: 'Cause Manny is very energetic and very sort of excitable and that is where I would play it on stage but when you put a camera like two inch in front of him it basically looks like he's gone insane. So we sort of modified him a bit and I wasn't quite sure how the bits were gonna cut together but we really lucked out and the first editor whoever took a crack at sort of putting the Manny's together was the lead editor on Waiting for Guffman and he was sort of in between gigs he just got this footage together in a way that was so surprising and fun that it really set the tone for all future editing then he eventually got busy and had to move on but we decided to sort of copy his style which was making the editing even more bizarre and it really worked. Peter Hastings and I came up with at Warner brothers and I have no idea why I think we were in the elevator, once and doing weird voices or doing something we came up with it's true.
22:00 Paul Rugg: And I have no idea where it comes from but I remember we just started giggling and then when he came in to say we need Manny song for his intro. I remember we wrote that in about 30 seconds, because we realized Manny didn't make sense so I remember, I just went into his office he goes, "I need this now". And we went in there we recorded it and that was it. I think we recorded at once it was just dumb and it made no sense, and It made us laugh and we're like okay we got that.
22:28 Speaker 2: Where are we going today miss Mr. Lighter than Air?
22:34 Speaker 6: Well, Manny some place wonderful.
22:40 Speaker 2: Hi there oh and happy days let's have some fun. And not be lazy it's true.
22:46 Paul Rugg: Yeah, I was trying to think about how Manny would get around and it just made me laugh my friend Mark Dropman was super, super, super funny guy I said I have this idea what do you think he goes, "That sounds great", so yeah, we filmed it I don't think we could get away with that now, but gosh it made us all laugh and I remember being in that harness and I think a couple of the execs might have come in and go, "Why are you in a harness?", I go, "Well I'm floating below Mr. Lighter than air." And they're like, "What the heck is that?"and I'm like, "Oh, never mind I think I've said too much already". So I don't think we would have the same budget today. We had this great makeup person and she always wanted to get Manny's hair perfect. So I think we went through literally 10 gallons of hair spray and she would sit and work on his hair and I remember that being like, Wow, I never thought anyone would be working on my hair. I remember they had been shooting a lot. They only needed me for a little bit. I came in one day and they said, "Stand here", and I was doing obviously my Manny thing very broad, very big, and the elephant wasn't liking it and they told me to not move so much 'cause the elephant was freaking out.
24:05 Paul Rugg: The trainer came over and said, "Really this elephant is about to kill you, so... " So, I might have changed a little bit. Maybe if you see it now because I hadn't seen if for years. But maybe you'll notice a very rather muted Manny who doesn't wanna get trampled by a very large elephant. I think maybe they separated me from the elephant at one point, but the elephant didn't like men. People, depending on who they were when they sort of saw what we were doing and how we were conducting the interview. And then was just all a bunch of fun, they really got into the fun. Some places didn't really like it. There was a... I remember we did something for the Egg Board of California. And we got... I think I got five minutes in to the interview, and they thought we were making fun of them and kicked us out. So, they literally put their hands in the in front of the camera and told us to leave because they thought... I don't know who they thought we were, but then as I just started airing, people were like, "Yeah yeah, you can come and do that." They saw that we were just having fun. But yeah, some people didn't really like it.
25:25 Speaker 1: Despite the Egg Board, most people seem to be enjoying themselves. They're in on the joke, which eliminates any cynicism. And they're as nice as they can be to Manny. It reaffirms acts of charity that deep down all people are good, or maybe they just wanna be on TV. Either way, it humanizes them. Likewise Manny never gets the best of someone. The ordinary people constantly try to help him understand. In the same way they would help an over-questioning kid understand. It's actually kinda sweet. The guy who is in charge of the State Quarters, or any of the knights at medieval times are for once, cooler than the TV personality, with Letterman, Conan, and Leno, that's never the case. Those are smart asses picking on the defenseless. While Manny is less than defenseless. It's this dynamic that provokes the wonderful moments in the sketches. In which an ordinary person who probably thought they had a lame job smiles. And it reads on their face "Yeah, I guess my job is pretty cool after all". As for Manny, there's a respite for the strange ones. In spite of everything, the security guard that Manny once feared... Well, see for yourself.
26:35 Speaker 2: Thank you very much. It's been a great pleasure. You wanna go get a soda or something?
26:44 Speaker 7: Sure.
26:46 Speaker 1: In that moment, there's hope for anybody weird, awkward, to meet at least somebody for a soda. Make sure to check out Paul Rugg's Freakazoid! Celebration Freak-A-Con on March 15th on Facebook Live.
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Day 1: Lemon Shark 🍋✨
doing a shark week sketch jam on twitter with my own foodie twist on it! basically drawing each shark as the food item it reminds me of!
image description: A Lemon Shark painted as a literal lemon shark. Its dorsal fin is colored like a leaf and the shark itself is a bright yellow. A cross section of its lower half reveals a sliced lemon interior. Watercolor specks splatter around it as it swims under a cursive text of the words “Lemon Shark.” end description
#artists on tumblr#art#lemon#lemon shark#shark#zoology#biology#marine biology#procreate#watercolor#marine life#image described#image desc#alt text#image description in alt#accessible art
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My lil Shark Week Sketch Jam babies ^w^ I’m so PROUD of how they ALL look and how they came out :3
Enjoy the big fish!! ありがと！
#original art#procreate#ipadillustration#original work#cute#animals#furry#shark week sketch jam#whitefin reef shark#lemon shark#chain catshark#scoophead shark#kitefin shark#spot tailed shark#porbeagle shark#shark week
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Shark Week Sketch Jam 5: Kitefin Shark!
These guys are pretty interesting deep sea sharks :3
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commission list | patreon
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The best Olympic show is the chaotic Peacock "Tokyo Tonight"
The best Olympic show is the chaotic Peacock "Tokyo Tonight"
https://theministerofcapitalism.com/blog/the-best-olympic-show-is-the-chaotic-peacock-tokyo-tonight/
Seeing 2020 Tokyo Olimpic games it is a strange experience. It’s been more than seven months since 2021 and seeing the logo makes you feel like you’re living in a time. Pandemic precautions mean there are very few people in the stands, so every event seems to take place after the apocalypse. The time zones also do no favors to committed American viewers. Tokyo is 13 to 16 hours ahead of the United States, so watching any competition in real time means staying up late or getting up horrible. Then there is the issue of how to watch the Games in first place. NBC likes to promote its broadcast service as the “place” to capture all the action, but browsing the app is so confusing that it has already generated headlines like “Why is it so hard to use NBC’s peacock to watch the Olympics? ” It also makes watching any full event a nightmare. However, Peacock has a program that puts all the curiosity of the 2020 Games in a kind of focus: Tokyo Tonight.
Live streaming from an unusually purple atmosphere at NBC Sports in Stamford, Connecticut, Tokyo Tonight it is not noticeably in Tokyo. Hosts Kenny Mayne and Cari Champion, who don’t have the ability to report on site, fill their awesome run time from 7:30 to midnight ET with infrequent jokes and a quick fire collage of coverage throughout , from the BMX bike to the white water kayak. a skate and ping-pong. It’s ideal for watching while scrolling TikTok, and it’s a delight.
Champion is handsome and witty, while Mayne exudes a loose Boomer charisma and tends to approach her guests as if they were people she met by chance, asking random questions and providing strange anecdotes about her personal life. Crucially, both are unexpectedly docking for anchors, to the point that it’s often hard to know when they’re joking. After Mayne began asking the guests, abruptly and with little context, whether or not they liked the Pearl Jam band, Champion went into action asking Beyoncé for her stance.
All this gives Tokyo Tonight a scent of experimental public access charm that until now was not seen in the traditional coverage of the Olympic Games. Mayne and Champion often appear on the screen seemingly unaware that their microphones are hot. “Am I supposed to be doing something right now?” Mayne asked Champion one night last week, at the bottom of the stream. “I’m removed.”
Even in the most polished parts of the show, the feeling of whim persists. Mayne dedicated a segment to a sketch in which she intended a young child to be an elite gymnast. During “Shredding the Gnar With Mike Parsons,” Mayne interviewed the veteran American surfer in a conversation that bordered on the surrealist. “How many times have you been here and there has been a shark?” Mayne asked Parsons, who was clearly kicked out for having to estimate the number of sharks he had shared an approximate location with in his five decades of surfing. (He could not provide an estimate.) Unsurprisingly, Mayne informed Parsons and viewers that the waters of the world belong to sharks, not humans. “Is it like that theirs ocean, ”he said.
He then asked Parsons if he liked Pearl Jam.
Diehard, the Olympics fans probably won’t like it Tokyo Tonight, partly because of its bewildering format and partly because it is not taken too seriously. But for those who enjoy watching elite athletes shine on a world stage, they also don’t feel so good watching a competition that it really shouldn’t take place, and who also likes to watch the coverage of the Olympics while watching social media, is a perfect sampling of short highlights presented by hosts who seem determined to make the less boring version of a featured show possible. If NBC continues to monitor Olympics coverage for American viewers, it will have to make some changes to make people happy. It would also be good to preserve this kind of anarchic fun. The ocean belongs to sharks, but my heart Tokyo Tonight.
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