Word: cartoons
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...both obsessed with samples: the former remixed Blue Note’s back catalog in Shades of Blue and fashioned himself a rapper on helium by essentially sampling and speeding up his own voice in Quasimoto’s The Unseen; the latter reworked tacky Eighties hits and cartoon themes into eerily poignant hooks on Operation Doomsday. Both are bold enough to let their music get lost within the crates...
...news that "the Japs are in California!", the Nazis have bombed the Brooklyn Bridge, they're parachuting onto the White House lawn, until, within minutes, "The British are quitting!" and "it's all over. We've lost the war." Finally the camp is quarantined with "rumor-itis," and the cartoon ends with the familiar logo of Fox Movietone News - a cameraman at work, except that his camera grinds sausage. Words pop onto the screen: "Sees. Hears. Knows. Nothing...
...many SNAFU cartoons, vigilance - a kind of protective paranoia - is the motto. "Spies" (directed by Jones for an August 1943 release) darkly suggests that German and Japanese agents lurk everywhere: in a baby carriage, a mailbox, a street lamp, a drain, a horse's head, inside a telephone. The antlers of two moose-head trophies, of the kind Geisel used for his Schaefer Beer ad, merge to form a swastika. A luscious babe SNAFU meets at a bar is seen noting his indiscretions on a tiny typewriter under the table; another babe's breasts are tape-recorder reels emblazoned with...
...Fighting Tools" (Clampett, October 43) alerts soldiers that great weapons are useless without careful maintenance; SNAFU ends the cartoon as, literally, a horse's ass in a German Prison Kampf. "The Goldbrick" (Tashlin, September 43) has SNAFU urging his fellow GIs, "I'm a goldbrick, be like me, use your head / With a heart of pure gold and a backside of lead," before singing a hymn to the lazy life to the tune of "Tit Willow" from "The Mikado." It ends with a bucktoothed Jap (they always had prominent dentures and were always called Jap) threatening, "Here lies a goldbrick...
...accounts, their collaboration on the 1966 network cartoon "How the Grinch Stole Christmas!" was amiably collaborative. Smartly elaborated from the book by Geisel, beautifully directed by Jones and designed by Maurice Noble, the 25-min. film delighted audiences and became a holiday standard. "The Grinch" and the ineffable "Horton Hears a Who," which the same team produced four years later, It had an educational function as well: it taught kids that there was a higher form of animation than the cheap, stilted stuff they'd been exposed to on the many Hanna-Barbera series. Here was character created through line...