"Deus ao mar o perigo e o abismo deu, Mas nele é que espelhou o céu. ..." Fernando Pessoa_ POEMA: No vale clareia uma fogueira

Brasília me irrita...

American Beauty & Sidaction

Uma das pouquíssimas vezes onde a fuga da arte pela arte realmente valeu a pena.
Fotos por Kazuo Okubo feitas para o Ministério da Saúde para uma campanha contra a AIDS, abaixo, um vídeo francês de excelente qualidade sobre o mesmo tema.


http://www.youtube.com/watch?v=Bm4KxWqcZaU&eurl

“Boop-Oop-a Doop-Girl”

On the 16th of January 1932, seventy five years ago, the Max Fleischer Talkartoon Boop-oop-a-Doop was released.

Betty Boop was modeled by Grim Natwick, after singer / actress
Helen Kane.

He used a image of a sheet cover he had found of her and took Kane's physical features and blended them with a poodle. That's why Betty looks more like a dog then a human being in the first cartoons. In Boop-Oop-a-Doop Betty is formed as the beloved Boop-boop-a-doop girl as we know her.

Helen Kane made a lot of recordings with Leonard Joy and his Orchestra around 1930. It's funny to listen to, because her voice sounds like Betty's ( or is it the other way around?). Betty's voice was done by Mae Questel, who made some records too as Betty Boop.

By 1932, with Boop-Oop-a-Doop as a good example, Betty's character was completely modified, no longer a poodle, but a femme fatale as we know her.

Her cartoons were labeled Talkartoons. She also made Screen Songs, films concentrated on a song, to sing along with the bouncing ball.

When you watch these early Betty Boop cartoons, you will be astonished about the rather open sexual themes. In the mid 1930s, with a more stricter censorship laws for films, her garter, short skirts and decolletage were gone and she became a cartoon figure suitable for little children.

A Betty Boop Screen Song:

http://www.youtube.com/watch?v=6lVAi323RQQ

Smells like a teen spirit

Toilet

Jazz e humor negro, combinação perfeita...

Sim, eu adoro os vilões da Disney!!!


Ask Cruella how she's feeling and she'll reply with extravagant glee, "Miserable, darling, as usual. Perfectly wretched." And that's the way she likes it.
Created by Marc Davis, talented animator of both Maleficent and Cinderella, Cruella is considered a masterpiece of animation art and design. Voiced by Betty Lou Gerson (who also voiced Mrs. Birdwell of the "What's My Crime" gameshow panel), she performed a manic take-off on famous actress Tallulah Bankhead. Character actress Mary Wickes (recently seen in "Sister Act" and "Little Women") performed the live-action reference that helped bring to life one of the most wicked of Disney villains.

Film: "101 Dalmatians" (1961)

http://www.youtube.com/watch?v=EucdwAz5uyo
http://www.youtube.com/watch?v=E9XFFUrvRqw
http://www.youtube.com/watch?v=rwOMcVLcDpg&feature=related


Cruella De Vil
Cruella De Vil
If she doesn't scare you
No evil thing will.

To see her is to take a sudden chill
Cruella, Cruella De Vil.

The curl of her lips
The ice in her stare
All innocent children had better beware.

She's like a spider waiting for the kill.
Look out for Cruella De Vil

At first you think Cruella is the devil
But after time has worn away the shock
You come to realize
You've seen her kind of eyes
Watching you from underneath a rock.

This vampire bat
This in-human beast
She ought to be locked up and never released.

The world was such a whole-some place until..
Cruella, Cruella De Vil..

Cheshire cat

Alice no País das Maravilhas
O Gato de Carroll mostra-se à menina como um companheiro nos momentos em que ela precisa de uma resposta sobre o que fazer. É um dos poucos personagens com quem ela consegue manter um diálogo mais brando e também o único que a explica o porquê de determinadas coisas. É ele, por exemplo, quem diz a Alice que todos, naquela terra, são loucos e que o motivo de ela estar lá seria porque, provavelmente, teria sua própria dose de loucura.
Ele é, pois, a criatura sábia que conduz e aconselha Alice em sua aventura, uma espécie de Grilo Falante, uma consciência figurativa. E é, ainda, o pensamento científico da narrativa porque comprova o que fala, embora mantenha sempre sempre uma linha tênue entre a genialidade e a loucura.

"`Cheshire Puss,' [Alice] began, rather timidly, as she did not at all know whether it would like the name: however, it only grinned a little wider. `Come, it's pleased so far,' thought Alice, and she went on. `Would you tell me, please, which way I ought to go from here?'
`That depends a good deal on where you want to get to,' said the Cat.
`I don't much care where--' said Alice.
`Then it doesn't matter which way you go,' said the Cat.
`--so long as I get SOMEWHERE,' Alice added as an explanation.
`Oh, you're sure to do that,' said the Cat, `if you only walk long enough.'"
"`But I don't want to go among mad people,' Alice remarked.
`Oh, you can't help that,' said the Cat: `we're all mad here. I'm mad. You're mad.'
`How do you know I'm mad?' said Alice.
`You must be,' said the Cat, `or you wouldn't have come here.'
Alice didn't think that proved it at all; however, she went on `And how do you know that you're mad?'
`To begin with,' said the Cat, `a dog's not mad. You grant that?'
`I suppose so,' said Alice.
`Well, then,' the Cat went on, `you see, a dog growls when it's angry, and wags its tail when it's pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore I'm mad.'"

Lewis Carrol

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