#Isenberg

[cosmicsponge2004]

I FINISHED SEASON 2!!!

[transformers-mosaic]

Transformers: Beast Wars - Second Chances - Page 17

Originally posted on February 2nd, 2011

Story - Mike Priest Pencils - Ryan Miller Inks - Jake Isenberg Colours - Ray Fromme Letters - HdE

deviantART

wada sez: See below for Mike Priest’s original script, titled “Lost and Found”.

Beast Wars: Second Chances- Page 17

“Lost and Found”

By Mike Priest

(FIRST PANEL- Starscream’s ghost/spark has phased through the Ark’s hull and is now hovering in a dim hallway.  “Emergency” red lights that line the walls appear to be blinking, indicating something is happening somewhere in the Ark.)

STARSCREAM: (Text box) Hmmm, now if I recall correctly…

(SECOND PANEL- Starscream ghost/spark “zooms” down the hallway and around a corner, leaving a streaking trail behind it.)

(THIRD PANEL- Starscream’s ghost emerges from a wall, half-phased through it.  His facial expression gives the self-satisfied impression of “success!” when he sees the contents of the room.)

STARSCREAM: (Text box) Ah-HA!  I knew I left that old thing lying around here somewhere…

(FOURTH PANEL- The Ark’s computer room, where Tarantulas’s image is on virtually every monitor.)

TARANTULAS: Security overridden.  Preparing to initialize self-destruct sequence.  Even beyond death, I will see my ultimate goal realized!  I will --

(FIFTH PANEL- Tarantulas’s computerized expression suddenly turns to shock as he notices someone enter the room.)

TARANTULAS: No.  You’re not supposed to be online!  That’s impossible!

(SIXTH PANEL- Large pay-off panel of STARSCREAM, in his original body, standing in the room with his hands on his hips, eyes narrowed and smirking his classic smirk.)

STARSCREAM: Wanna bet?

[pumpkinleif]

With the graphic novel coming out soon and people creeping back into the Danny Phandom after... a while... I’ve seen a couple posters wondering how a very NOT-transgender guy like Butch came up with a character with such powerful, universal trans energy. And while some of that answer is “Nicktoons were your childhood favorite and you’re trans,” I feel like it’s important to note that the initial concept art for Danny has NONE trans swag. None whatsoever.

Look at this guy. This guy disrespects women. This guy uses Axe body spray to cover up the fact that he hasn’t showered in two weeks. This guy talks about crossfit and supports Trump.

The transgender swag was a gradual bimbofication that was brought to us by the concept art of artists such as Bob Boyle and character designers like Stephen Silver. (Also Shannon Tindle, Ernie Gilbert, Erik Wiese, Ray Angrum, Chris Graham, Ian Graham... Look, there’s a LOT of people that draw a cartoon.)

Bob Boyle concept art ^^^

Stephen Silver concept art. (Also notable for giving us Kim Possible’s iconic swag.) ^^^

So remember, if your favorite cartoon character has trans swag, don’t thank your pitch creators, thank your local storyboard artists or character artists today!

[garadinervi]

John Baldessari, June 17, 1931 / 2024

(image: John Baldessari working in his Santa Monica studio in 1986; in Barbara Isenberg, John Baldessari, in his own words: How an immigrant father shaped the artist's voice, «Los Angeles Times», January 7, 2020)

[yr-obedt-cicero]

“History is not a bedtime story. It is a comprehensive engagement with often obscure documents and books no longer read—books shelved in old archives, and fragile pamphlets contemporaneous with the subject under study—all of which reflect a world view not ours.”

— Fallen Founder: The Life of Aaron Burr, by Nancy Isenberg · 2007

[luegootravez]

Carola del Bianco by © Sebastián Isenberg

[kemetic-dreams]

In 1830 a newspaper in North Carolina, the Newbern Sentinel, ran an article about an unpublished dictionary, titled The Cracker Dictionary. The work appears to have remained unpublished (perhaps the title had something to do with this), but in reporting on the words contained in the book’s nascent form the article provides early written evidence of a number of 19th century Americanisms. Among these is absquatulate, which is spelled with an initial O, rather than A, and defined as “to mosey, or to abscond.”

In addition to absquatulate, the reader is informed of the meaning of a number of other similar terms, many of which have retained some degree of currency in our language; flustrated (“frustrated and prostrated, greatly agitated”), rip-roarious, (“ripping and tearing”), and fitified (“subject to fits”) have seen enough continued use that we define them in our Unabridged Dictionary. Other words contained in this never-realized dictionary, such as ramsquaddled (“rowed up salt river”) and spontinaceously (“of one’s own accord”) appear to have been lost with the passage of time.

Two of the loafers, we understand, were yesterday taken and committed to prison; the other has absquatulated. — The Times-Picayune (New Orleans, Louisiana), 13 June 1837

Cracker, sometimes cracka or white cracker, is a racial epithet directed towards white people, used especially with regard to poor rural whites in the Southern United States. Although commonly a pejorative, it is also used in a neutral context, particularly in reference to a native of Florida or Georgia (see Florida cracker and Georgia cracker)

The exact history and etymology of the word is debated.

The term is "probably an agent noun  from the word crack. The word crack was later adopted into Gaelic as the word craic meaning a "loud conversation, bragging talk" where this interpretation of the word is still in use in Ireland, Scotland, and Northern England today.

The historical derivative of the word craic and its meaning can be seen as far back as the Elizabethan era (1558–1603) where the term crack could be used to refer to "entertaining conversation" (one may be said to "crack" a joke or to be "cracking wise") The word cracker could be used to describe loud braggarts; An example of this can be seen in William Shakespeare's King John (c. 1595) "What cracker is this same that deafs our ears with this abundance of superfluous breath?"

The word was later documented describing a group of "Celtic immigrants, Scotch-Irish people who came to America running from political circumstances in the old world". This usage is illustrated in a 1766 letter to the Earl of Dartmouth which reads:

I should explain to your Lordship what is meant by Crackers; a name they have got from being great boasters; they are a lawless set of rascalls on the frontiers of Virginia, Maryland, the Carolinas, and Georgia, who often change their places of abode.

The label followed the Scotch-Irish American immigrants, who were often seen by officials as "unruly and ill-mannered" The use of the word is further demonstrated in official documents, where the Governor of Florida said,

'We don't know what to do with these crackers—we tell them to settle this area and they don't; we tell them not to settle this area and they do'

By the early 1800s, those immigrants "started to refer to themselves that way as a badge of honor" as is the case with other events of linguistical reappropriation.

The compound corn-cracker was used of poor white farmers (by 1808), especially from Georgia, but also extended to residents of northern Florida, from the cracked kernels of corn which formed a staple food of this class of people. This possibility is given in the 1911 edition of Encyclopædia Britannica, but the Oxford English Dictionary says a derivation of the 18th-century simplex cracker from the 19th-century compound corn-cracker is doubtful. A "cracker cowboy" with his Florida Cracker Horse and dog by Frederic Remington, 1895

It has been suggested that white slave foremen in the antebellum South were called "crackers" owing to their practice of "cracking the whip" to drive and punish slaves. Whips were also cracked over pack animals, so "cracker" may have referred to whip-cracking more generally. According to An American Glossary (1912):

The whips used by some of these people are called 'crackers', from their having a piece of buckskin at the end. Hence the people who cracked the whips came to be thus named.

Another possibility, which may be a modern folk etymology, supposes that the term derives from "soda cracker", a type of light wheat biscuit which dates in the Southern US to at least the Civil War. The idea has possibly been influenced by "whitebread", a similar term for white people. "Soda cracker" and even "white soda cracker" have become extended versions of "cracker" as an epithet

A 1783 pejorative use of crackers specified men who "descended from convicts that were transported from Great Britain to Virginia at different times, and inherit so much profligacy from their ancestors, that they are the most abandoned set of men on earth".

Benjamin Franklin, in his memoirs (1790), referred to "a race of runnagates and crackers, equally wild and savage as the Indians" who inhabit the "desert[ed] woods and mountains".

In his 1964 speech "The Ballot or the Bullet", Malcolm X used the term "cracker" in reference to white people in a pejorative context. In one passage, he remarked, "It's time for you and me to stop sitting in this country, letting some cracker senators, Northern crackers and Southern crackers, sit there in Washington, D.C., and come to a conclusion in their mind that you and I are supposed to have civil rights. There's no white man going to tell me anything about my rights."

[roachliquid]

Having gone through the whole show (aside from Phantom Planet, I'm saving that for its own day) I feel like I was a bit harsh on Steve Marmel. Don't get me wrong, I'm still not a fan of some of his creative choices, but it seems like he wasn't primarily responsible for the worst writing in the series; that dishonor goes to Butch Hartman and Sib Ventress, the latter of whom has everything under his belt from decent episodes to several of the series' biggest stinkers.

On the flip side, there's a strong pattern of my favorite episodes being written not by Marmel, but by Marty Isenberg. The fact that he also vanished between seasons 2 and 3 makes me think there was more to the loss of quality than just Marmel's departure.

[luxe-pauvre]

Those of us who only learned how to evaluate our lives using external markers were bound to feel unmoored when those parts of our lives were thrown into chaos. In the first six months of the pandemic, I lost career momentum, income, community, mental focus, even independence (I moved back in with my mom after over a decade). But the way I experienced those losses, as a growing sense of meaninglessness, was hardly objective or inevitable. “The curtain has been lifted, and we’re feeling betrayed. But there’s nobody to blame, because we kind of did it to each other and to ourselves, right?” said Cho. In her view as a therapist, “meaning” isn’t a concrete structure to be lost, found, or understood. It’s what we create, constantly, out of the stories we tell ourselves about what we see in the world.  And the story our culture currently tells is a very literal-minded one. Many of us value science and logical thought above all other forms of understanding, even if we don’t consistently apply them to our own lives. So it’s unsurprising that our conversations about the mind and mental health generally remain limited to what we can easily see and measure.

Sofie Isenberg, Spirit Matters

[marcovaleyeah]

15.03.24

#Mira-Marathon | Danny Phantom

Animation Series Name: Danny Phantom | Season 2 | (2005); Production studios: Nickelodeon Animation Series, Billionfold; Director by: Butch Hartmanz, Wincat Alcala, Gary Conrad, Julie Hashiguchi, Kevin Petrilak, Ken Bruce, Richard Bowman, Sean Dempsey, Daniel de la Vega; Screenwriters: Brian Hogan, Sib Ventress, Marty Isenberg, Bob Boyle, Mark Banker, Mark Drop, Amy Keating Rogers, Kevin Sullivan, David Silverman, Stephen Sustarsic, Ellen Lichtwardt Goodchild, Steve Marmel, George Goodchild, Scott D. Peterson, Butch Hartman, Matt Wayne; Starring: David Kaufman, Grey Griffin, Rickey D'Shon Collins, Rob Paulsen, Kath Soucie; Genres: Science Fiction, Fantasy, Action; Running Time: One series – 22 minutes | All series – 7 hours 20 minutes;

The second season of Danny Phantom continues the emotional and exciting adventures of the main character. It is packed with action, humor and exploration of more complex themes. Character development and raised stakes add depth to the story. While there are slight flaws in some episodes, overall this season is a great addition to the first and will appeal to fans of the series.

My rating:

⭐⭐⭐⭐

[transformers-mosaic]

Transformers: Beast Wars - Second Chances - Page 16

Originally posted on February 2nd, 2011

Story - Mike Priest Pencils - Ryan Miller Inks - Jake Isenberg Letters - HdE

deviantART

wada sez: See below for a thumbnail and Mike Priest’s original script, which he titled “Abandon”.

Beast Wars: Second Chances- Page 16

“Abandon”

By Mike Priest

-

(FIRST PANEL- Depthcharge’s cutlass/spear flying through the air, having been thrown.)

(SECOND PANEL- The cutlass skewers Arachnid in one of its remaining optics.  The giant spider recoils with pain.)

(THIRD PANEL- Depthcharge in a “just threw a cutlass into a giant spider’s eye” pose, his other hand has a “shark rifle” in it, with smoke curling out from within its barrels.  Various bits of “Steel Tech” Tarantulas drone guts and limbs are hanging off Depthcharge’s body, giving the impression that the Maximal has just torn through a great deal of them.)

DEPTHCHARGE:   Haven’t you taken that damn thing down yet??

(FOURTH PANEL:  Depthcharge and Dinobot hurl themselves at Arachnid’s damaged, shambling form, weapons drawn.)

DINOBOT:   You are welcome to aid me in doing so!

(FIFTH PANEL:  Transmetal Terrorsaur, crouched in robot mode on a nearby rocky outcropping, watches Depthcharge and Dinobot deliver critical blows to Arachnid.  He smirks a very Starscream-like smirk.)

TERRORSAUR (STARSCREAM):   Heh.  How very spirited.  But it seems the final act of this battle…falls to me.  

(SIXTH-SEVENTH PANEL:  Starscream’s spark leaves Terrorsaur’s shell and “phases” through the Ark’s exterior surface.  Terrorsaur’s optics go dark as the proverbial “key” is pulled out of the ignition.)

[hollyhousen]

I recently had the great privilege of meeting with writer and story editor Marty Isenberg, one of the original Danny Phantom writers on the show’s first 2 seasons. Not only did he write many of my favorite and fan-favorite episodes, but he wrote the very first one I happened to see, “Splitting Images” (so he is partly responsible for hooking me on the show that inspired my animation writing career)! It was a joy to hear his advice about the writing and story editing process then and now and how certain DP episodes evolved (like outlining “The Fright Before Christmas” and writing the moment in “The Ultimate Enemy” where Danny tells Jazz he knows she knows). He even decided to send me SIGNED Danny Phantom comics he wrote for Nick Magazine, a bunch of season 1 Danny temporary tattoos (no logo on his chest!), and a signed poster from “The Ultimate Enemy” that came with the DP-themed magazine. WHAT a kind and generous writer and person. Thanks so much for everything, Marty! Super cool to meet you!! 👻💚✏️

[ruscatontheroof]

Nina Isenberg. Sketches of costumes for the theater (1927)

Нина Айзенберг. Эскизы костюмов для театра (1927)