#moobeard

[1337thegamer420]

The Moobeard Pirates

[coekj]

[spielen-verrueckt]

Kyle Adam Carrozza manipulated me and my family. He manipulated everyone to have his back. He has a habit of lovebombing people to get them to trust him and them sneaks his way into overstepping boundaries, and according to some people now, molesting them.

I knew him IRL for a decade and now I feel extremely disgusted that i knew him since I was a kid. I wish my parents and I never met him. He is an evil monster, worse than John K and Dan Schneider. I almost worked on an animation project with him. Specifically the Moobeard reboot. Thank God I didn't, and I dodged a bullet. He was my only animation connection so I felt like I had to be on good terms with him, and that's how he keeps relationships- by holding you hostage and dangling an animation-industry carrot above the heads of young artists like a starved horse.

I was privately in the defense of him before because everyone I knew was and how they described the Ang controversy didn't seem that bad at the time. but I never spoke about it publicly, only with close friends. I told a mutual on my stance on his controversy and they harassed and blocked me over it but it turned out they were in the right all along. They're having the last laugh right now, whoopty do.

Being a shota/lolicon is disgusting but it's a coughing baby compared to owning actual CSEM. If drawing that stuff prevents real crime then I can't say I'm completely against it existing, as fucked up as that sounds. I'm already sorta neutral on the whole proship/anti thing and I don't think I'm ever gonna talk about that kind of topic ever again in fear I'll be seen as someone like Kyle who's hiding skeletons.

I wasn't the only person who knew about his google drive- he talked about it publicly on twitter, which was fucking stupid of him but at least it gives me proof. I am however, for some fucking reason the only one who put 2 and 2 together and realized it could be correlated with his arrest. If you haven't seen my NewGrounds journal, please read it.

When that happened, I gave him the benefit of the doubt and excused it as being either a hack or the same situation with Naoki Saito, who also had his google deleted for a similar reason THE SAME YEAR (it was a false positive)

someone told me that Ang took credit for his google being deleted, but if i'm being honest I think she's talking out of her ass. She also believes aliens visited her. I'm almost positive that Google tripped a hash and investigated privately, leading to his arrest. but again it's just a theory. if not, it's a wild coincidence.

I am so, so deeply sorry and I wish the best for the victims. Outing myself as his ex friend and providing more evidence against him will be my form of repent.

[nailwraps]

Leave it to Kyle A. Carrozza  and his recent MooBeard drawings to inspire me to draw again!

A redesign of my fan character to congratulate him on the premiere of s pilot on Nicktoons. Sammy Snail, loyal member of Moobeard's crew (so loyal he's Moobeard's #1 fan), adopted brother of Quill Porcupine, a swabber for Moobeard's ship, of course being a snail, he always leaves a trail of slime which makes his job difficult.

The main details of his original design I made are still ther...e but it's a bit of an improvement than what I drew over 10 years ago. I may do another redesign in the near future, so consider this the warm-up.

I feel he would be a perfect addition to the MooBeard crew and I want Kyle to know if he ever gets the greenlight from someone to make MooBeard happen full time, I'm ready to help!

[hmvw2015]

Note: What I meant by that is that I haven’t seen any good cartoons with Billy West lately. So there!

https://www.youtube.com/watch?v=VNLXJ1t5uTc

[reblog-a-lot-bear]

Just when you think your life is going great

[drawinjohn]

Feelin’ sketchy. Featuring Lylln (hadn’t drawn her in a while), MooBeard (by @tvskyle) and Inchy & Pinchy (by @brainfarto)

[theredblooper]

Were you the one that made the Moo-beard the pirate short? I really enjoyed and I liked Sailor Bird.

Nah dude, that was @tvskyle‘s great work! I’ve got nothing to do with Moobeard. That said I can totally relate. Sailor Bird’s a cutie. :D

I’m curious as to how you came to that conclusion though! If it's cuz of my drawing style, that's from working on Mighty Magiswords for a couple’a years. ^^

[fred-frederator-studios]

Believe it or not, Frederator’s not looking for hit shows.  

Frederator looks for wonderful creative people so we can be their fans.  

Most all of the Frederator Studios’ series have come out of the 250 shorts we’ve produced over the years*, primarily comedies. I get asked all the time how it comes to pass that we make a particular short. It’s time to share.**

Maybe you’d be surprised, but we have never gone out to creative talent saying “pitch us your ideas, we want hits. That’s the fastest way to get "product," what a potential creator thinks we want to see, rather than what they really want to make. When people are second guessing us or a network or really, the audience, the film is never really original, it’s a rehash of things that have come before. It’s not for Frederator.

Of course, we love hits, we’re commercially oriented people and we certainly want business success (we all need food). But honestly, we don’t see a conflict between making great art and a blockbuster series. (I often blabber how much my teenage fandom for The Beatles and Motown made that clear to me.)

How did we get here?

My zig zagged path to filmmaking came from jazz musicians. Surprisingly, they’re a lot like cartoon creators.

I became a devoted jazz fan at 18 by listening to the Tony Williams Lifetime, Miles Davis and Ornette Coleman. A professional production career started soon after when music, more than TV or the movies, drove popular culture. That’s what I wanted, a career behind the studio window. One thing led to another and instead of rock bands I worked with blues and jazz musicians, mostly with world class brilliance, older than me, and most often, African Americans. Staggering talents.  

Contrary to my suppositions from reading about Phil Spector’s dictatorial ways, it seemed that in jazz, none of my “ideas” about what “should” be recorded were necessary. I mean, I was a young, white kid from the suburbs who had just started listening to the music they’d pretty much invented. It wasn’t my business to interfere. I needed to identify the sessions’ leader (here’s where my young “fandom” could come into play) and he –it was usually a “he”– would pick the music to be played and the members of the band.  

Someone pointed out to me that “producing” these folks pretty much just required that I make sure they got to the appropriate location on time and that we’d agreed to the amount of material to be laid down with the studio time we had booked. Then I could say “take 1” on the talkback and click the stopwatch.

Then, jazz led me to radio, which led to TV, and then to kids TV; I eventually began at Hanna-Barbera in the early 90s at the same time Cartoon Network got started. CN’s first head programmer Mike Lazzo put together an “advisory” group that included Joe Barbera and Bill Hanna (natch), Friz Freleng, and John Kricfalusi. They all said that “back in the day” the producers stayed out of their creative paths and gave them the resources to let their imaginations and skills run wild.

These innovators made me realize that I could be involved with cartoons the same way as with the jazz guys. Find the right leader/creator, give them the right resources, get right out of their way. Help in any way you can. I could help. I was a fan.

The animation rank and file told me they felt like their ideas were stolen by the studios, either by commission or omission, that artists were being severely discounted to writers, and no matter their ideas, the studios and the networks changed them (and/or ruined them) based on executive ignorance or ego.

So instead of trolling for hits (which was expensive and rarely netted triumph) I decided that investing in creative people and their ideas was the best long term gamble. A creative relationship with new hitmakers was could be awesome in millions of ways. Business sure, but first and foremost, a good experience could spread throughout creative communities and feed news creators into the studio for future projects. Over the years, our team has expanded well beyond me, and in fact, today I’m less important to the day to day process than ever before. But don’t worry, the rest of Frederator are even bigger fans of talented people than I am. 

It’s hard to really hit the bullseye when trying to explain “creative people and their ideas,” because ultimately it’s always a case of “we’ll know it when we see it” kind of thing. Mostly we’re looking for characters with whom we fall in love, or as Eric Homan, Frederator’s creative leader says, we want to hang out with them. And a filmmaker who can actually fully execute their film. We’ve generally worked with artists who write their own cartoons, but honestly, that’s never been a prerequisite. Writers, artists, actors, whatever. We’ll know it when we see it. Sorry I can’t be any more specific.

Not only are we proud of the filmmakers and cartoons we've produced over the past 25 years, but we also find it gratifying to enjoy so much subsequent work made by those creators who made their first professional films with us: Family Guy (“Larry & Steve” was Seth MacFarlane’s first professional short at Hanna-Barbera), Samurai Jack (Genndy Tartakovsky created “Dexter’s Laboratory” for my What a Cartoon!), Foster's Home for Imaginary Friends (Craig McCracken’s “The Powerpuff Girls,” also at WAC!), Danny Phantom (Butch Hartman made three shorts for WAC! Before “The Fairly OddParents” and “Dan Danger!” for Oh Yeah! Cartoons), Mighty Magiswords (Kyle Carrozza created “MooBeard the Cow Pirate” for Random! Cartoons), and so many more.

Frederator asks people to pitch a show they're dying to make. Please, don’t try and second guess us.

Against the conventional wisdom, to be sure, it’s worked like crazy for us. 

…..

* Notable exceptions would be our upcoming Castlevania on Netflix and SuperF*ckers on Cartoon Hangover from 2012.

** You can click below to read my 22 ridiculously detailed Blog History of Frederator’s original cartoon shorts about how our shorts programs came to be in the first place.

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Part 8. Part 9. Part 10. Part 11. Part 12. Part 13. Part 14. Part 15. Part 16. Part 17. Part 18. Part 19. Part 20. Part 21. Part 22

[wecoloringpage]

Kyle The Cat Moobeard Coloring Page

New Post has been published on https://wecoloringpage.com/kyle-the-cat-moobeard-coloring-page/

Kyle The Cat Moobeard Coloring Page

[1337thegamer420]

sketch of Moobeard and his crew (and my oc lol)

[marcelorenard2]

Liked on YouTube: MooBeard the Cow Pirate https://youtu.be/VNLXJ1t5uTc

[minotaursauce]

i can’t believe my fursona made it into a cartoon

[skeluigi]

Daily reminder we got Fanboy and Chum Chum instead of Moobeard the Pirate Cow

[rugdoghasanartattack]

Vambre for tvskyle holding the cow-tlass XD

[frederator-studios]

Return to Hookmookapookalap

Kyle Carrozza's "MooBeard the Cow Pirate" was the second or third short we greenlit for Random! Cartoons in 2005. Last we heard, Kyle's doing something secret for Cartoon Network. You can watch his cartoon, directed by Jeff DeGrandis and with the voices of Billy West, Eric Luttrell, and Dave 'Gruber' Allen, right here.