#Jazz Brak

[mijnmobielemoleskine]

Ik zie de zee in duizend stukken door de druppels op de ruiten.

- Jazz Brak (TERUG ft. Gandhi)

[burlveneer-music]

MOZO MOZO - Maschine - power skronk from Vienna

Mozo Mozo was founded in 2018. Moritz Haberkorn (guitar, FX), Michael Masen (sax), Christoph Kirmaier (bass, FX) and Lukas Wöber (drums) played many intense session before forming the group. Their aim was to bring original free jazz to a young audience. Their live shows are legendary - their gigs are complex, performative and combine elements of jazz and rock. In 2021 Felix Linhart took Moritz Haberkorn's place with the former concentrating more on his solo projects like Morast. The name Mozo Mozo is open to many interpretations. In Japanese, mozo means cozy or cuddly, in Spanish it means waiter or young man. The group was and is inspired by artists like Omar Rodriguez-Lopez, Zu, John Zorn, Balázs Pándi or Flying Luttenbachers but aims to create their unique interpretation of highly energetic virtuoso live music. The band use their own tool, the Mozo Machine, to direct them through both their gigs and the recording of this album. Mozo Mozo are playing many live shows and have supported groups like Old Time Relijun or Blurt. If you are a fan wild free jazz, this is a must have. Think Blurt, John Zorn or Flying Luttenbachers and you know what we are talking about. Bass – Iggi D'Agostino Conductor – Mozo Maschine Drums – Toyboy 28 Guitar – potzblitz!brak Saxophone – Sir Sax-a-lot Composed By – Mozo Mozo

[pop-culture-diary]

Sing, Sing... czyli jazz w piwnicy

"Dziewczyny jazzu" Teatr Syrena

Scenariusz i reżyseria: Iza Natasza Czapska

Kierownictwo muzyczne: Tomasz Filipczak

Reżyseria światła: Gustaw Trzciński

Kostiumy: Paulina Huczyńska

Przestrzeń: Zuzanna Miladinović

Występują: Monika Mariotti, Justyna Gajczak, Izabela Perez

Tekst pisany na podstawie spektaklu z 27 lutego 2024

Na wstępie chciałabym zaznaczyć, że to nie będzie typowa recenzja, bo i „Dziewczyny jazzu nie są typowym spektaklem. To druga odsłona projektu „Mikromusical” realizowanego przez Teatr Syrena. To przeniesienie na polski grunt praktyki prosto ze Stanów Zjednoczonych, gdzie sztuka teatralna prezentowana jest widowni, by ocenić jej potencjał.

Bohaterkami „Dziewczyn jazzu” są trzy wspaniałe kobiety, które trafiły do powojennej Warszawy z różnych stron świata: Carmen Moreno (Monika Mariotti), Jeanne Johnstone (Justyna Gajczak) i Elizabeth Charles (Izabela Perez). Panie spotykają się w kawiarni i tam zastaje je zakaz słuchania jazzu wydany przez partię. To nie pierwszy raz, gdy Teatr Syrena bierze na tapet postaci historyczne, a poprzednie produkcje napełniają mnie optymizmem co do przyszłości i tego spektaklu. Jednakże, choć to bardzo ciekawy okres, nie jestem pewna czy da się na tym zbudować pełnoprawny musical. Bo niestety na ten moment „Dziewczyny jazzu” są po prostu za krótkie i zbyt pośpiesznie przebiegają po życiorysach swych nietypowych bohaterek.

To powiedziawszy, wszystkie panie zostały zagrane przez bardzo charyzmatyczne aktorki, które świetnie sobie poradziły zarówno aktorsko jak i muzycznie. Mam jednak wrażenie, że dano im za mało do zrobienia. Sztuce wyszłoby na dobre zagłębienie się w historię każdej z bohaterek i bardziej szczegółowe pokazanie relacji między nimi.

Jeśli chodzi o muzykę, to w spektaklu wykorzystano jazzowe klasyki z tego okresu, piosenki, które bohaterki z pewnością znały i śpiewały. To świetny sposób na stworzenie atmosfery i przeniesienie Bistra Syrena do lat czterdziestych. Cała sala świetnie się bawiła słuchając brawurowych, pełnych energii wykonań. Tyle tylko, że na atmosferze i dobrej zabawie wkład piosenek się kończy. Nie popychają fabuły do przodu i gdyby ich nie było narracja zbytnio by nie ucierpiała. Mam nadzieję, że przed oficjalną premierą powstaną oryginalne utwory, które powiedziałyby nam więcej o bohaterkach, jednocześnie zachowując jazzowy styl. W całym spektaklu najwięcej dowiedzieliśmy się o postaciach z narracji prowadzonej w ojczystym języku każdej z nich, z napisami wyświetlanymi na ekranie. W pełnoprawnym musicalu te momenty byłyby piosenkami i ich brak dało się odczuć.

 „Dziewczyny jazzu” to spektakl mocno osadzony w realiach wczesnego PRLu, co ma swoje odbicie w kostiumach i scenografii. Bohaterki i muzycy wyglądają jak wyjęte z podręcznika do historii, a połamane płyty winylowe zalegając na scenie sprawiają, że widz całkowicie rozumie ich irytację, gdy zdają sobie sprawę jakie bezpośrednie konsekwencje ma dla nich rządowy zakaz.

Bardzo mi się za to podobało zastosowanie uderzeń młotkiem jako przerywnika. Otóż przedstawiciel władz jest cały czas obecny na scenie, a jego jedynym zadaniem jest uderzanie młotkiem w płyty gramofonowe w kluczowych momentach spektaklu, całkowicie zmieniając wydźwięk sceny, wyrywając postaci i widownię z zamyślenia i przypominając im o wiecznym nadzorze jaki ma nad nimi państwo.

Jak na mój gust „Dziewczyny jazzu” świetnie pasują do Bistra Syrena. Aktorki wchodząc na scenę witają się z widownią jak ze starymi znajomymi, co tworzy niepowtarzalną atmosfer w połączeniu z ich interakcjami z akompaniującymi im muzykami. Całokształt daje widzom poczucie, że na to kilkadziesiąt minut cofnęli się w czasie i sami uczestniczyli w zakazanej sesji słuchania jazzu.

Ciężko jest oceniać „Dziewczyny jazzu” jeśli ma się świadomość jak krótko trwały prace i że to de facto nie ostateczna wersja musicalu. Jestem pełna podziwu dla całego zespołu kreatywnego odpowiedzialnego za ten projekt, wszyscy wykonali kawał świetnej roboty i to w tak krótkim czasie. Stworzyli spektakl rozrywkowy, ale i pełen prawdziwych emocji. Nie jestem pewna jak dokładnie Teatr Syrena zamierza ocenić reakcje publiczności, ale moim zdaniem „Dziewczyny jazzu” to sztuka z potencjałem i na pewno będę obserwować dalsze prace nad tym tytułem.

Ale to tylko moja opinia, a ja nie jestem obiektywna.

[dipetschmot]

Boże kocham radio że puszcza dziś moje ulubione piosenki!!!

Also jem sobie midday toscik z serkiem bialym i awokado bo narobiłam guacamole a klientów brak XD

Hybrydy póki co mi się utrzymują...

[donkey-shot]

Jazz Brak & Zwangere Guy @ 505 Concerts Antwerp

[miastaslow]

Luty w Warszawie

Książka: Komeda. Osobiste życie jazzu

Autor: Magdalena Grzebałkowska

Data spotkania: 17 lutego (piątek)

Godzina spotkania:  18:00

Miejsce spotkania: Kawiarnia Kafka, ul. Oboźna 3

Osoba kontaktowa: Kasia, tel. 507 124 991, leskatarzyna@gmail.com

Człowiek, którego sztandarowy utwór, wykorzystany w filmie Romana Polańskiego, zna każdy Polak, ale mało kto wie o nim cokolwiek innego. Większość ludzi nie wie nawet tego, że Komeda nie było prawdziwym nazwiskiem wielkiego muzyka, bowiem urodził się jako Krzysztof Trzciński. Zawojował świat, pozostawił po sobie wspaniałą muzyczną spuściznę, sprowadził do Polski jazz, narażając się na spore nieprzyjemności (jazz był wtedy nie tyle niepopularny, co niemile widziany, jako element zaimportowany ze zgniłego Zachodu), ale śladów, wspomnień o tym, jakim był człowiekiem, niewiele. Niemal brak. Magdalena Grzebałkowska odrobiła tytaniczną pracę domową, starając się dotrzeć do tych okruchów wspomnień o nim, jakie przechowują w pamięci ludzie, którzy byli panu Krzysztofowi bliscy.

Jaki był? Porozmawiajmy o tym.

Zapraszam na spotkanie!

Kasia Leśniak

[insistonmind]

Ale ze mnie dzban Teraz szanse ma inny kolo

sanah, Vito Bambino - Ale jazz!

[scotianostra]

On June 27th 1937, Robin Hall, folk singer and musician, was born in Edinburgh.

Robin spent most of his early years in Glasgow and was a direct descendant of Rob Roy Macgregor, and of Mungo Park, the explorer. His mother had been an opera singer and Robin was nurtured on a generous diet of classical music and music hall songs. Robin contracted polio as a child and during his lengthy convalescence his interest in all types of music flourished.

As a teenager, he played with a traditional jazz group, studied the piano, and spent his spare time digging up American folk songs and investigating the folk material of his native Scotland. Hall studied at the Royal Scottish Academy of Music and Dramatic Art, and worked briefly as in actor in repertory theatres. Robin went to London in 1957, armed with a large repertoire of folk songs and a guitar. While in England he recorded a series of EP’s for “Collector Records”, which are now very hard to find and highly priced. In the 60’s, Robin became a bit notorious and controversial for insisting on wearing his Campaign for Nuclear Disarmament badge on the BBC’s Tonight Show, for which he was widely criticized.

After Robin left the duo in 1981, he enjoyed a successful career in broadcasting—winning two national radio awards, for best presenter and best documentary, for Radio Clyde’s The Sing Song Streets, a program about Glasgow told through songs, stories and children’s games.

Sadly, Robin died on November 18th, 1998, at the age of 61. Another great folk singer that lived life to excess, lost at an early age. Robin married and divorced twice and was survived by three children.

Fen I wis only ten year aul I left the pairish squeel,

Ma faither fee'd me tae the mains tae chaw his milk an meal;

I first pit on ma nerra breeks tae hap ma spinnle trams,

Syne bukkelt roon ma knappin knees a pair o nicky tams.

 But first I got on for bailie loon an syne I got on for third, An syne, of course, I hid tae get the horseman's grip an word; A loaf o breid tae be ma piece, a bottle for drinkin drams, Syne ye canna gang throw the calf-hoose door athout yer nicky tams.

The fairmer I am wi ay noo, he's wealthy but he's mean. Though corn is cheap, his horse are thin, his harness fairly deen; He gars us load oor cairts aye fu an his conscience has nae qualms, When breist-straps brak there's naethin like a pair o nicky tams.

I'm coortin bonnie Annie noo, Rob Tamson's kitchie-deem, She is five-and-forty an I but seiventeen; She clairts a muckle piece tae me wi different kinds o jams, Aye, an tells me ilkie nicht that she admires ma nicky tams.

Ae Sunday mornin I set doun, the kirkie for tae gang, Ma collar it was unco ticht ma breeks were nane ower lang; I had ma Bible in ma pooch, likewise ma buik o Psalms, Fen Annie roart, "Ye muckle gype, tak aff yer nicky tams."

Though unco sweir, I took them aff, the lassie for tae please, But aye ma breeks they lirket up aroon aboot ma knees; A muckle wasp crawled up ma leg in the middle o the Psalms, Aye, nivir again will I enter yon kirk athoot ma nicky tams.

ve affen thocht I'd like tae be a bobby on the force, Or mebbe I'll get on the cars tae drive a pair o horse; Fitever it's ma lot tae be, the bobbies or the trams, I'll ne'er forget the happy days I wore ma nicky tams.

[popculturebuffet]

Tex Avery Birthday Spectacular!

Hello all you happy people! And welcome to a celebration of the only cartoon director I knew as a kid and one of the finest whose ever lived, Mr. Tex Avery. 

Avery is a legend in the animation industry and rightly so. Starting out at a few other studios, and loosing sight in one of his eyes due to some tomfoolery at one, Tex was annoyed with the restrctive enviorment and eventually found his way to Termite Terrace, the animated shorts wing of Leon Schislenger Productions, aka the future Warner Brothers Studios and the makers of Looney Tunes. And his impact on the franchise is vast, cannot be overstated and I only learned about just how much recently: The man created Daffy Duck and Bugs Bunny, created the prototype for Elmer Fudd, and created the design for Porky we’re all far more familiar with. 

Eventually though while he was happy there, his career when ended when he eventually got into a squabble with Leon schsinger over the ending of “The Heckling Hare” and left soon after. Given he got a four week unpaid suspension for it , a bit extreme given all he’d given the studio, I can’t blame him. He instead went over to MGM who badly needed his wacky energy, and thus got to go as nuts as he wanted, with creative control a better budget and the result was his peak and classic characters like Red and my personal faviorite and personal boy: Droopy. I will try and do a birthday thing for him next month, we’ll see if my rather packed schedule will allow for it. Point is I watched the guys cartoons a lot as a kid between looney tunes and his shorts being repacked for the Tex Avery show in the late 90′s, and until recently I had no idea the depth and scope of his career: The guy gave looney tunes it’s standard fourth walll breaking and made it a huge part of the industry, and he was the one to hlep htem break out of being a Disney knockoff and into what we know today. The guy has my utmost respect so today I honor him as the first animator to get one of my birthday specials: As is my standard ten shorts, my patreons get to pick one each (I now have two but she start’s next month so her benefits will too) if they so choose (Kev opted out of the porky pig one next week) and I went to my friend blah for a recomendation as he’s an avid fan of the golden age of animation and thus usually has a really good choice up his sleeve. Now that’s out of hte way join me under the cut for some shenanigans as old tex would want it that way. 

1. The Gold Diggers of 49 (1935)

This was Tex Avery’s first short with warner and the first of his I could find, not ot mention his first time working with Chuck Jones and Bob Clampett, who he’d mentor and go on to be the heart and soul of Looney Tunes and define the characters Tex created. And since this is more significant than his earlier work i’m coutning it as his first. And as a start it’s.. ehhhhhhh. 

I don’t blame him for it though.  Most don’t hit it out of hte park their first time up to bat, and frankly the deck was stacked against him. He was saddled with Beans the Cat...

No one brak no one. He was part of an attempt by warner to create a new star as part of a Little Rascals/Our Gang style group of kids debuting in the short “I Haven’t Got a Hat”. This short is notable not for Beans, who no one cares about, but for the debut of Looney Tunes first star: Porky Pig. Porky was just one of the various characters but the only one audiences really liked. It took some time for Warner to get the hint though, hence Beans starring here and Porky playing his girlfriend’s father.. and also now being much older than him for some reason. 

So instead of being a Little Rascals ripoff bean is now a mickey mouse ripoff, as the short gives me mickey mouse vibes.. but without the things that made those shorts actually good and feels mostly built on studios trying to make what they think audiences will like. There’s sparks of waht Tex would become.. but just not enough wiggle room for him to make something special. Also porky looks and sounds weird in this one and Bean’s girlfriend has a REALLY annoying voice. Oh and two horrible Asian stereotypes, because it was acceptable at the time but lord was it never okay. Then again I should be at least mildly greatful none of the shorts had blackface.. because tex apparently REALLY had a problem with that, something I obviously didn’t know as a kid as they edited it out but given most of his MGM shorts have “blackface edited out of x version”, yeahhh.... I may like the guy, quite a bit and feel those gags weren’t done out of malice.. but it dosen’t make them okay, they were never okay and he should’ve done better. 

2. I Love to Singa (1936) Thankfully our next entry is 800% better, as we get a classic from my childhood and probably multiple childhoods. Admittedly part of the reason this one stuck in my head is the title song, sung by a young jazz singing owl whose dad doesn’t like that he sings Jazz instead of classical, enters a contest and nearly looses singing classical to please his dad only for his dad to intervene and finally accept his son. It’s a wonderful story of acceptance with some decent gags, beautiful animation and one hell of a title track that will probably never leave my head. The song is really what makes this short and sometimes that’s okay. Also just to note so someone else doesn’t: This short was a parody of the Jazz Singer one of the first talkie’s.. and also a film that uses blackface and whose 80′s remake bafflingly also uses blackface for some reason. Yes really. 

3. Tortoise Beats Hare (1941)

One of Tex’s only four Bugs Shorts.. but given 3/4 of them are certified classics, and one of them involving a horrible stereotype.. to the point it’s part of the rightfully infamous “Censored 11″ and the ONLY one involving Bugs Bunny. 

So as I said, Tex has a bad history with casual racism, and while it was the style at the time and I don’t THINK he was actively malicious towards black people.. it doesn’t make some of his work any less harmful. The rest of his bugs work though is remembered for the right reasons: his first appearance, and early classic we’ll get to next.. and this standout everyone who saw it as a kid or an adult fondly remembers. 

You all know the premise: Bugs finds out, in an utterly brilliant wall shattering bit at the start where he reads off the crew names and then the title, that this picture will have him beaten by a turtle and taking offense to that challenges the guy. This is honestly one of the few Bugs shorts where he’s the out and out villain of the picture. He’s doing this race purely out of ego, yells at Cecil whose perfectly nice in this one, and in general is the bully set up for a fall he’d later be famous for taking on. But it works, both because this si early in bugs career so it’s entirely in character, and because Mel just really sells the obnoxiousness while still being funny. 

This short also has one of Tex’s trademark setups as this is essentially a prototypical droopy cartoon: A meek, goofy voiced protagonist whose shorter than his large obnoxious enemy and who torments him by showing up every where he’s going to be and casually doing it. Cecil even does so using an army of fellow turtles with Droopy later using a similar trick in one of his shorts. As a big Droopy fan i’m clearly not complaining and while Droopy would do it better, this short’s still a classic for a reason with tons of great bits and is a fun break from the usual bugs setup, though in full fairness the usual bugs setup is still solid gold so take that how you will. 

4. The Heckling Hare (1941)

Originally I was going to have Daffy in Hollywood in this spot as I thought it was on Max, it was not,  so I swapped it out with his final bugs cartoon. For the record his first, and Bugs, is being saved for Bugs birthday this summer. And honestly i’m glad I did because this was 7 mintues of pure joy that has another setup that Tex himself and other Looney Tunes animators would resuuse: Bugs being pitted up against a far dumber antagonist. One who often still fully deserves it but allows him to just have fun for several minutes at this dumb bastard’s expense. It works well here, with tons of clever gags, my faviorite being the two doing dumb faces with each other only for bugs to stop and pull out a sign as seen right above. 

It’s also an approriate capper to our warner made Tex shorts for the day, as this would be the one that got him fired. He and Schisnger argued over it and he got suspended as I mentioned and I found it again a bit fucking extreme. So did Tex and after a handful of shorts elsewhere, he’d move over to MGM, whose cartoons would ironically be bought up by warner. They needed a shot in the arm to compete with Disney and Warner and Tex was happy to provide hte needle filled with nonsense. And the results.. are pure gold. 

5. Dumb Hounded (1943)

I’ll admit as a kid I didn’t know Tex’s MGM shorts were theatrical, or any shorts but somehow I knew they weren’t looney tunes. Besidds obviously having hteir own show they just had their own tone and pacing and style. While the Looney Tunes aren’t bad, at all honestly, Tex’s work here was in a class by itself with MGM gladly giving him a higher budget and even more creative freedom. And the results speak for themselves and one of those results is one of if not my faviorite classic cartoon character. And since I might not be able to get to his birthday with one of these next month, though i’m certainly going to try march is just VERY VERY FULL. Anyways point is our happy hero was introduced here. And given i’m frequently depressed and often withdrawn, not that you could tell from my reviews here, I related to this depressed bulldog who always won anyway despite being an outsider, finding love, sucess and always beating a much larger, much more assholish antagonist. But Droopy is good on his own merits as his shorts are just that funny. 

This was true from Day One as dumb hounded is fucking perfect: The Wolf that Avery always used in his cartoons escapes from jail and is hunted by bloodhounds including our boy, who charmingly introduces himself with “You know what, i’m the hero”. From there it’s a simple setup but a great one as Droopy finds the guy.. then chases him from here to enternity with one amazing gag after another. Simple, utterly hilarious and the dawn of a legend, with the ending having Droopy go a bit nuts after getting his reward money before returning to his usual demeanor “You know what? I’m happy” So am I bud, so am I. 

6. Red Hot Riding Hood (1943)

Yup same year. Tex hit the ground sprinting. This one is his signature MGM toon and for good reason. Using his usual forth wall breaking style, both the wolf and red riding hood rebel when it opens with a typical telling, so it changes to a 40′s nightlife setting: Grandma lives in a penthouse and is man hungry, Red is a fanservicey night club act and the Wolf is a sexually harassing asshole who chases after here and has some over the top reactions to her that are iconic in some’s mind.

The short is gorgeously animated with Red’s dance sequence and Wolfie’s reactions being the highlight and the short isn’t as bad as it could be as the wolf is treated as a scumbag for hitting on her and generally being a creep. SO the first two thirds aren’t bad with nice touches like the narrator clearly improvising the new story. It’s just badly hampered by the last half where Grandma sexually harasses Wolfie and it just doesn’t work. This double standard stuff annoys me and “haha get it it’s funny when a woman stalks a man” isn’t funny. Wolfie stalking her really isn’t that funny either it’s just not you know an entire third of the film. So a classic for a reason.. but one that really has degraded with time. Still worth analyzing and what not, just not great. 

7. Who Killed Who? (1943)

Yes still. It was a good year. This is another one off like Red Hot Riding Hood and as is tradition since the Tom and Jerry one, my patreons each get to pick one and Kev selected this one. And this.. was a great choice. 

Seriously I could not stop laughing with a great gag a minute, WAY too many to mention, a classic ending, and just nothing but net the whole time. I don’t have much to say really.. but because this one’s just good. The whodunnit genre hasn’t really gone away, it’s cliches are welll known even today and this is a lovely parody of it that hits the ground running after a live action intro and runs right through the wall across a lake and straight into droopy “You moved.”. 

The only real observation I have other than “This is fucking awesome watch it immediately” is that the villian looks exactly like the Phantom Blot. Who knew the Phantom Blot was a live action guy with a weird haircut the whole time huh?  Seriously this one is a masterpiece, an instant faviorite, and I highly recommend it. 

8. Screwball Squirrel (1944)

As you can probably guess by how I lead it in this one is not very good. It is tex TRYING to make a bugs or daffy type character again and somehow failing at it. He created them, he did plenty of shorts like theirs with other characters and got how the cat and mouse antics of the old theatrical shorts worked.. so I have no idea how this one happened. 

I’m really not overselling it: The short is about Screwy, who hyjacks it from a cute widdle bunny clearly parodying bambi.. who he beats the shit out of, then decides to get things going asks a dumb dog to hunt him, then insults him to provoke him to attacking him. He then spends the entire short tormenting the poor dumb bastard who again HE PROVOKED. It feels like a poor imitation of dumb hounded, as while Bugs clearly outclassed the dog there, he’d die if he lost, so while he was punching down, he clearly didn’t have a choice and you can’t honestly blame him. Here, Screwy is fine, he just wants someone’s head to fuck with and spends a whole short torturing him. We don’t even get catarsis as while the dog does catch him at the end via  weird gag, they end up deciding to beat up the bunny instead. 

His voice is also just the worst, just utterly grating and making me wish an anvil woudl fall on HIM instead. Screwy would return for some other shorts but I have no idea why. This was easily the weakest of these ten shorts and I will probably not return to the guy next year.

9. Bad Luck Blackie (1949)

This is one i’d forgotten till I got a ways in. It’s also weirdly one of the only MGM Tex shorts on HBO Max as this was included in the Tom and Jerry collection for some reason, the dog in it clearly isn’t the tom and Jerry verison of spike... though the dog Droopy fought a lot was indeed called spike. Yes that is confusing, no I don’t know why MGM thought this was a good idea. 

 As a result though I have been saving giving out about this till now but seirously , put the tex avery shorts on HBO Max. Their on Blu-Ray, their on boomerang, especially Droopys. I do not get why they aren’t on here. I’m tired of them holding things out for the boomerang app when not everyone subscirbes to that. Let me have my morose dog dammit. 

That giving out aside i’m glad this one caught my eye via i’ts weird name as it’s another masterpiece. It also does what one Tom and Jerry short I reviewed, the one where tom’s a millionare,  earlier this month failed to: properly make it’s antagonist loathsome enough to deserve the parade of abuse he gets. With that one Tom is tourturning jerry for like 30 seconds, but Jerry torments him for most of 5 minutes. 

Here we get about two minutes of our lead kitten getting torremnted by a mean bulldog. It’s not only still a bit entertaining to lessen the horror just enough to be watchable but not enough to make the bulldog likeable, but it makes what happens for the rest of the short oh so fucking satsifying. While the previous short today really didn’t get the karmic ballance neded for a good classic screwball comedy short this one overwhelmingly does.

Our kitten gets some help in the form of Blackie, a professional black cat who agrees to turn the tables, sauntring across to a wonderfully catchy tune. any time the little guy whistles. The result from there is 5-6 nonstop minutes of comedy genius, as Tex finds new and creative ways for the cat to come out of nowhere, and even shakes things up to keep it intresting towards the end iwth the dog getting the whistle.. only for it to still not work out, and for our little kitten to get his revenge at last by painting himself black after the bulldog paints blackie white. As should be obvious by now, it’s really good, showing Screwball Squirrel was the exception not the rule. In general Tex was this good during his mgm and when he was at his peak we got gems like this. Truly sensational, watch it if you have max it’s under the tom and jerry section for some reason. 

10. T.V. of Tommorow A decent one I remember seeing as a kid. Not much to say though, it’s mostly a bunch of gags about “future” tv’s based on their viewer’s needs. Some good stuff.. not as good as most of what was here today but still better than the worst of it and still very memorable and part of a memorable tetralogy i’ll probably come back to when I do Tex’s birthday again next year. Not a bad note to end on though. 

Overall these shorts show just how strong a creator tex was, gleefully taking convention and ripping it to tiny pieces. As i’ve mentioned many times i’ll be coming back to his work next year.. and probably be watching a hell ofa lot more in the time between. Might even do a second special on him in between birthday ones. We’ll see how this does. The Tom and Jerry one sadly wasn’t quite the hit I hoped. 

Until then I have many other reviews. And since Today (This review is late) was supposed to be the 90′s tom and jerry movie but that turned out not to be on Max for some reason. I still plan to cover it some day i’ll just have to find it and buy it first. But tommorow if I have the time i’ll be continuing the Lena retrospective with an intresting little side trip. So until then, i’ts been a pleasure and you know what? Thanks for reading. 

[adultswim2021]

Sealab 2021 #26: “Return to Oblivion” | November 16, 2003 - 11:15 PM | S03E05

Return to Oblivion is the sequel to Swimming in Oblivion that nobody asked for. It also hearkens back to other episodes, like All That Jazz and Tinfins with Kid’s appearance (but not Play). This one is about a network suit showing up to the set of Sealab while they are shooting a sequel to All That Jazz. The suit witnesses terrible criminal behavior everywhere, including illegal meatpacking, child endangerment, standards and practices violations, and just plain drunken negligence.

Here Adam Reed (playing himself; except I think he’s actually Matt Thompson? does that carry over from the original Oblivion episode? I didn’t even notice them referring to him by name at any point, and the Sealab wiki doesn’t even bother listing his character, which makes me think I’m not the only one who’s confused) has gone off the deep end, sporting one of those beer can straw helmets but with bottles of whiskey. He also has a golden pistol which he raises to his head at end of the episode after the Sealab set has been destroyed.

Everyone’s arc ramps up until everyone begins destroying themselves, and the network suit is now obligated to clean house by dousing the set with gasoline and setting it ablaze while much of the cast and crew is still inside. Every scene along the way is kind of building off beats from the first Oblivion episode. Everything is a little more heightened and harsher and way more dysfunctional. It’s a little jarring, and not THAT funny. The only conceptual thing that could possibly save this episode is if this were indeed the final or one of the final episodes of the series. I’m not sure what the point of all this is, honestly. Redo the first one but add a dude with tentacles and make it as mean-spirited as the actual Sealab show?

I can’t shake this feeling that this is sorta like when DC Comics introduced Earth Prime, which was supposed to just be the real world we actually exist in where DC Comics are published and there’s no superheros, but then they couldn’t resist but to start populating that reality with superheros and having superhero shit happen there too. Like, I guess the first episode isn’t THAT much better, looking back. But the idea here is they’re presenting the “real life” counterparts of these characters and they’re just behaving in the exact same way, and the writers are just making the exact same jokes they normally would. Where’s the fun in that?

MAIL BAG

What would you like to see in your mailbag? Ask yourself a question for a change.

I would appreciate it if whenever I dryly recount a DVD extra or make some pedantic point about intended episode orders that people would send nice notes of encouragement. “Thank you for telling me about that DVD commentary track, here is a thousand bucks” and also: I’m not asking for NUDES per say, but if any women wanted to just send me short videos of them smiling and eating an ice cream cone that would be cool

hello this is adult swim ceo michael ew-leen, i want you to know i am rebooting the brak show! and as a certified adult swim "sexpert" i thought i should run some ideas by you: 1. pickle brak! 2. brak goes to "mickey" donald's and sings a jaunty song about his favorite food, szechuan sauce 3. brak FINALLY meets his match - mr. meeseeks! i hope you like p.s. what do you think of the films of michael haneke

I think the show should be in the spirit of Michael Haneke and just have an entire episode of Brak glumly trying to shoo a pigeon out of his Parisian loft, getting fed up with it not leaving, and crushing it do death under a blanket. That’s like something that would happen in one of those movies, right

[mijnmobielemoleskine]

Zet ik woorden naast elkaar, dan toon ik wat met beelden kan.

Jazz Brak (Ronde Cirkels)

[bcwallin]

Autonomies (2018)

Shtisel is back. The third season of the popular TV series about Haredi Jews is coming to Netflix on March 25, after airing on Israeli television earlier this year. But if you just can’t wait for more nuanced, thoughtful depictions of Orthodox Judaism on screen and need your next fix, you should hear about the limited series Autonomies, created by the team that brought you Shtisel, Yehonatan Indursky and Ori Elon. Even if you’ve never seen Shtisel, but you care about interesting stories that center the Jewish experience, you should probably hear about Autonomies, too.

In the dystopian world of Autonomies, a fictional Israel is still reckoning with the aftermath of a civil war, as the country is split between the Hilonim (secular Jews) in Tel Aviv and a Haredi (ultra-Orthodox) autonomy under strict religious law in Jerusalem (a Palestinian autonomy is named, though never a focus). But the cracks are showing. Members of the Hevra Kadisha (Jews who handle the responsibilities of the deceased) use coffins to smuggle porn, pork, and other non-kosher contraband into the Haredi autonomy. Rumors abound on the possibility of unification with the rest of Israel. And one girl — born from one world, raised in the other — becomes the symbol of the country’s precariousness when the identity of her birth mother is revealed.

At the 2019 New York Jewish Film Festival, Indursky said that he was inspired by his own upbringing when co-creating this show. The writer and director grew up Haredi and studied in the Yeshiva Ponevezh in Bnei Brak before leaving that world. You can feel the lived-in quality of his writing in the mumbled brachas (blessings) over food, the way a jazz song can become a niggun (traditional melody), and the natural way details of Jewish tradition are woven into the fabric of the story. You can also feel his sense of perspective, as he navigates the story from the dual perspectives of insider and one beyond.

Haredi life is nuanced, presented with flaws and favor alike. The rebbe of the autonomy (Shuli Rand) is an inspirational figure to many, but in his amber-hued study, he reigns like Don Corleone over his council. There is beauty in ritual, but trouble brews as characters push back against the stringencies enforced by the Shomrim (Haredi police). In the heightened reality of a dystopia, Autonomies raises the stakes of tensions and temptations without declaring an explicit bad guy. The clearest stance the show takes is an opposition to walls that keep some people in and others out.

A great piece of genre storytelling will often reveal truths about the ordinary world. Autonomies is a bit of Job, a bit of Jonah — the main character, Yonah Broide (Assi Cohen), retells the latter’s story when he’s inside his own belly of the beast — and it’s also a whole lot of the sentiment of Jewish suffering expressed over and over in Tisha B’Av kinnot (elegies): “אוֹי מֶה הָיָה לָנו” (oy, what has happened to us). Following in the tradition of Fiddler on the Roof and A Serious Man, Autonomies presents Broide wondering: Why does Hashem have to do this to me?

Of course, Broide’s not the only one suffering. The women of Autonomies, particularly Elka (Tali Sharon) and Batia (Dana Ivgy), reckon with the ways they are seen and ignored, as they struggle over the fate of a daughter who was switched at birth. Lawyers, husbands, police, and a rebbe push them to give up, to fight, or to endure, as they hope to hold onto a daughter thought dead by one and raised by the other. Even the girl, Goni (Nir Di-Nur), becomes seen more as a symbol of political strife than as an individual.

It’s been three years since Autonomies’ release in Israel, and it still hasn’t made much of a cultural splash in the U.S., where the show is only available on the streaming service Topic (which does offer a seven-day free trial, perfect for bingeing a three-and-a-half-hour Israeli limited series), and at the occasional film festival. I have not stopped thinking about Autonomies (no, really) since I first saw the show in 2019. Like Shtisel, it grounds its story in a reality of customs, restrictions, expectations, and self-doubt.

Watch it before you watch season 3 of Shtisel. Watch it after. Watch it and discuss it enough for the distributor, Keshet International, to make the show more widely available (is it too much to ask for an Autonomies Blu-Ray release?). Appreciate how great it is that we can have a Jewish work that is also a piece of powerful genre storytelling about division, personal struggle, and identity. And then, when you hear somebody tell you how excited they are to watch the new season of Shtisel, let them know: They need to hear about Autonomies, too.

Originally published on Alma

[itscledfan]

my rp script with josjos

before @josjos4everbroppy hated me now, waaaaaaaaaaaaaaay earlier me and josjos did our 1st roleplay. so here's the actual script i made. i hope u enjoy. :/ btw all of the josjos' belong to @josjos4everbroppy (all of the credit goes to @josjos4everbroppy )

btw this is the remastered version ig so ye

*meanwhile in pop village a portal appeared and different josjos' from different tribes came out of it*

alex (me btw): um wut

rock josjos: bro who are you

me: um... whats going on

*techno josjos flies over me*

techno josjos: *plays FLZ - Popsicle*

classical josjos: *grabs my hand*

alex: WHA-

classical josjos: weeeeeee *starts laughing* *accidentally opens her hand and drops me* whoops*

me: *falling* AAAAAAAAAAAAaaaaaaaaah! *sits on some country troll's back* phew that was a close ooooooo- aaaaAAAAA-

country josjos: *llooks at me* AAAAAAAAA-

me and country josjos: AAAAAAAAH

country josjos: GET THE HECK OFF OF ME *shakes herself to get me off*

me: WOAHWOAHWOAHWOAHWOAH!!!

country josjos: *gets me off and kicks me*

me: WAAAAAAAA- *falls down to the ground* uuugh my head

hip hop josjos: *walks on my body*

me: *shudders* ._.

hip hop josjos: JOSJOS IS MY NAME GO STRAIGHT FROM MAH DADDY'S NAME! MY WHOLE BODY'S MADE OF GLITTER AND I THROW IT IN YOUR FACE *throws glitter all over me face*

me: aaAAAAAAAAAH! *gets up*

funk josjos: *walks behind me singing atomic dog*

me: AH! *runs off from funk josjos* AAAAAAAH *bumps into smooth jazz josjos* huh? ._.

smooth jazz josjos: why hello there. ya like jazz?

me: ._. oh no! nononoo-

smooth jazz josjos: *plays smooth jazz* 🎷🎷🎷

me: oOoOoOoH .w.

reggaeton josjos: *grabs me and makes me dance with her*

me: ._. uh *dances with reggaeton josjos while mi gentle plays*

kpop josjos: *forces me to dance with her*

me: AH! O-okay *dances with her while zimbalabim plays*

reggaeton josjos: no he's mine

kpop josjos: NO He's mine!

*both of them graby my arms saying mine and they let go*

me: *gets surrounded by all of the josjos'* ._. oHAAAAAAAAAAAAAAALP!

josjos: HEY PAL IM COMING

me: oh god THANKS finally!

josjos: *grabs me, hands and releases her hair so she can swing away from the others faster* HANG ON!

all of the other josjos: hail the josjos of pop, our leader

me: josjos thank goodness u saved me!

josjos: no probs but what happened

me: idk this portal suddenly just came out of nowhere

josjos: hmmmm thats trange. LETS GO EXPLORE IT!!!!!

*later i found a mythic item and soon all of the josjos ran back to the portal and the portal closes*

josjos: thx alex

me: np!

josjos: *started to shake my ha- SIKE* SIKE XD *grabs me with her hair*

me: uuuh

josjos: teehee *throws me onto the 4th wall*

me: AAAAAH- *BAM braks the 4th wall*

me and pop josjos: heheheh HAHAHAHAHAHAHAAHAH XDDDDD

*FIN*

[synesteta]

Okej, więc co lubisz? Ulubiona piosenka? Co sprawia że jesteś zadowolony? Plany na przyszłość? Przepraszam, nie chce być wścibska, ale po prostu wydajesz się naprawdę ciekawy

Co lubię w jakim sensie? Ulubiona piosenka na ten moment to Przyłu & VBS - Jazz. Jestem zadowolony, kiedy po prostu coś mi się uda tak jak planowałem, a planów na przyszłość póki co brak, zobaczymy jak będzie. Nie przepraszaj, a pytaj

[donkey-shot]

Jazz Brak @ De Casino Sint Niklaas