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2009-09-18 09:19:28 Description: This is a scene from Tarzan X.... View full at www.ladiesoncams.com
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1731, 05:22, 2007-07-22 13:48:45 Description: "1970's Supergirls Kick Your Butt!"
The American civil rights movement opened possibilities of empowerment to a new generation. Feminism simply extended that to include equity for the (More) "1970's Supergirls Kick Your Butt!"
The American civil rights movement opened possibilities of empowerment to a new generation. Feminism simply extended that to include equity for the 51% majority of the human race, namely women. 1970's pop culture reflected society's struggle to grasp a new, modern, full-range woman. Comic books were in a renaissance through young counterculture creators with more sophisticated stories, art, and outlooks. What better place for higher concepts of new female power than the turbo-amped fantasyscape of superheroes?
"Here be... the victors!": BIG BARDA of the New Gods, by the Picasso of comics, Jack Kirby (1970); the 'new' LOIS LANE, exploring unexpected sides of herself; SHANNA The She-Devil, an heir to Tarzan and Sheena; the split-persona ROSE AND THORN, a mild woman by day, a 'vixen of vengeance' at night kicking biker ass in green leather (1972); THE CAT, a Marvel update on Catwoman, who morphed into TIGRA The Were-Woman (1972); the BLACK CANARY, a stalwart heroine from the 1940's who got new kick as a member of the Justice League of America; DEADLY NIGHTSHADE, 'the queen of the werewolves', a villain who fought Captain America and the Falcon (1973); MARY MARVEL, the sister of Captain Marvel, and essentially the original Supergirl since the early 40's (1973); DARNA, the Phillipines' pinay-power answer to Wonder Woman and Mary Marvel, who spawned many movies like 'Fly Darna Fly' (1973); THUNDRA who fought the Fantastic Four and later replaced the Thing as a member (1972); the really wrong-headed attempt at a WONDER WOMAN movie, starring Cathy Lee Crosby (1974); SUPERGIRL, with fellow slamazons in the DC Comics universe (1974); FRIDAY FOSTER, a syndicated comic strip which was made into a movie starring hellion-on-heels Pam Grier (1975); the true WONDER WOMAN, restored to her full glory after a bad detour into 'no powers', the success of which spurred the perfectly-realized TV show starring the more perfect Lynda Carter (1975-78); which also included WONDER GIRL, given full bredth by Debra Winger; THE BIONIC WOMAN, the love of the 'Six Million Dollar Man' and bane to Fembots, played with serene class by Lyndsay Wagner (1976-1978); VAMPIRELLA, the gothic love-child of Bettie Page and Barbarella, from the decidedly more adult horror stories of Warren Magazines (1969-1983); STORM, one of the first African/American superheroines, whose regal power elevated the X-Men (1975); POWER GIRL, an alternate universe version of Supergirl, who won't take @#$& from anybody! (1976); ELECTRAWOMAN & DYNAGIRL, a Saturday morning kids show very similar to the campy 60's 'Batman' series (1976); LEIKO WU, the balance to 'Shang Chi, Master Of Kung Fu', who really will kick you upside your head wearing boots like it's no thing (1975- 1981); ISIS, starring Joanna Cameron, created for TV as a companion to Captain Marvel's 'Shazam' show, who got her own comic in the deal (1976); RED SONJA, The She-Devil With a Sword, and the distaff rebuke to her rival 'Conan the Barbarian' (1973); PRINCESS LEIA ORGANA SKYWALKER, as fast with a sharp tongue as a blaster or a chain, from 'Star Wars' (1977); MS. MARVEL, a Stan Lee rethink/ response to DC's Mary Marvel to complement their own, separate Captain Mar-Vell (1978); The HUNTRESS, an alternate universe daughter of the Batman and Catwoman, meaning you shouldn't mess with her (1977); SPIDER-WOMAN, spinning her own web of intrigue (1977); PHOENIX, of the X-Men, whose descent into the Dark Phoenix was one of comics' most seismic tragedies (1976-1980); MISTY KNIGHT, bionic heroine-for-hire, from the pulse-pounding pages of 'Power Man/ Iron Fist' (1975); SHE-HULK, the refined and wry cousin of the Hulk (1980); DAZZLER, an unfortunate marketing deal between a disco label and Marvel Comics (1980); and finally, from the shadows, comes ELEKTRA, an ambivilent anti-heroine signalling the post-punk comics renaissance of the Eighties (1981).
About ISIS: The first all-female band signed to a record deal was Goldie & the Gingerbreads in 1964. They tore up New York, toured with the Stones, and won world acclaim. But they were only able to record a few singles, which faded under record label incompetance. (Fanny would later be the first all-female band to make full albums, in 1970.) They split, only to go in parallel paths. Goldie became Genya Ravan, leading the eclectic and funky rock band, Ten Wheel Drive. Guitarist Carol MacDonald and drummer Ginger Bianco forged ISIS, an all-female octet of progressive funk-rock. They made three albums between 1974 and 1977. Musically they were the equal of anyone, from Blood Sweat & Tears and Chicago, to Earth Wind & Fire and Parliament. But they were too ahead for the times to handle: an all-female group of varied ethnicities and orientations, likewise bending every music style like taffy. They were the future, right now, as it should be.
Sadly, their leader Carol MacDonald recently passed away in March, 2007. Find out more about her underappreciated legacy here:
http://www.itsaboutmusic.com/isis.html
http://www.itsaboutmusic.com/genyaravan.html
Nuff said, effendi!
-EXCELSIOR!
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(All rights reserved by the respective copyright owners. Fan-made video to promote awareness of all the works.) (Less)
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1175, 03:13, 2008-04-01 22:50:01 Description: When Saddam Hussein talked of 'the devil Bush' he may not have been so far from the truth. U.S. president George W. Bush, his father and grandfather are proven initiates of this (More) When Saddam Hussein talked of 'the devil Bush' he may not have been so far from the truth. U.S. president George W. Bush, his father and grandfather are proven initiates of this multi-generational occult lodge. George W. was tapped (initiated) in 1968 at the group's Yale University HQ, a mausoleum known as 'the tomb'. When undergraduates broke in they found that the 'holy of holies' inner sanctum has red velvet walls and carpet, with a large pentagram emblazoned on the wall.Adolf Hitler was obsessed with the occult, in his case the Thule Society, closely inter-connected with German Theosophists. The jolly roger, skull and cross bones, "der Totenkopf" was an emblem worn by Hitler's SS soldiers and was emblazoned on SS armoured cars and tanks (see images on this page). The SS was a religious cult of sworn Hitler/German ancestor worship. If the Nazis' occult lodges had been exposed then shut down, not treated as a taboo, millions of lives could have been saved. A small price to pay for insane racism and the blood of millions of people. The second world war need never have happened. Unless you want the occult fuelling a totalitarian West's Third World War 'on terror' and their 'New World Order' - please - do your bit to expose George W. Bush, the bonesmen and other interconnected lodges round the world. Heinrich Himmler, whose arrest as a traitor Hitler had ordered on 28 April 1945 for negotiating with the Allies, was captured by a British patrol on 23 May. A few hours later he killed himself with cyanide, and, dying as Reichsführer-S.S., set his final seal upon the destruction of the world's most sinister order, which the Third Reich's military defeat had already inflicted. Hitler had sown seeds of the deepest hatred between Nazis and Communists in his teaching and in the cruelty and mass murder he had launched in Russia. Now it was the turn of the Soviets. Nazism reached its end in a Berlin turned into a battleground of unparalleled violence, fire and brutality as the Soviet forces dealt blows of destruc-tion and revenge. It was as if the Satanic essence of Nazism shone through the flames and the ruins.George W Bush was/is a member of the "skull and bones" society. There's even a movie about it. And no, this isn't just another harmless Greek fraternity. It's a secretive, satanic cult for the jaded and self-appointed elites at Yale University. The upper crust of the upper crust -- with only 15 new initiates selected from each graduating class. Bush wrote in his autobiography it was, "so secret, I can't say anything more." But I can: We know that initiates undergo torture, kiss a scull, press a human femur bone to the initiates backside, act out a throat slashing ritual murder, and they pledge allegiance to a figure dressed up as Satan. They are also compelled to relate their entire sexual history while masturbating in a coffin. Bush had the name "Magog" , because he had the most extensive illicit sexual background of all the new initiates. And of course, Gog and "Magog" are names directly connected with Satan and the Antichrist in Revelation (20:8). The following is a short clip from a video taken by investigative journalist Ron Rosenbaum on April 14, 2001: Scull&Bones Clip The words and imagery of the cult are heavily centered on death, as they repeat the same mantra over and over, till it is burned into their conciseness: THE HANGMAN EQUALS DEATH! THE DEVIL EQUALS DEATH! DEATH EQUALS DEATH!' Initiates are instructed to "die to the barbarian world" so that they can be reborn in the "The Order," a brotherhood of Satan. In a new and more recent twist, in addition to being cross examined by Satan, initiates are also being cross-examined by a member dressed up as George W Bush, aka "Magog", who hurls vulgar profanities and says thing like "I'm gonna kill you like I killed Al Gore." Some may want to dismiss all this as somewhere on the extremely poor-taste edge of college hijinks, but it's much more serious than that. Such a darkly obscene and prolonged ritual cannot help but have a lasting impact on the souls of young initiates. Oaths to the devil taken in jest are nevertheless taken in fact. It's also important to point out that scull and bones cult members do not resign after graduation - like born again Christians they consider themselves to be born again into "the order" forever- only they're reborn in Satan, and not the Holy Spirit. They even have their own hideout called Deer Island, where former Bones members bring their families for summer reunions. A secluded hideaway is located in the St. Lawrence River, and owned by the Deer Island Club Corporation, a shell company operated by Skull and Bones members. The Scull and Bones Satanist Elites maintain their cultic relationships their entire lives - mostly by helping each other gain positions of influence and world power, in order to make more money. A satanic mafia for the super-well-connected. Though Bush kept going bust in the oil business, his comrades from scull and bones helped bail him out, and it was they who would later give him his start in politics. Bush was also involved in torture at Delta Kappa Epsilon, at a time when he was President of the fraternity. One pledge recalled how this "compassionate conservative" took great pleasure in branding him with a red hot iron, leaving him with scars which he carries to this day. When the hazing scandal broke in the campus newspaper in the late '60s, Bush tried to defend the illegal torture as a "harmless prank", but the fraternity was fined and the branding practice halted. It's little wonder that he still considers illegal torture a 'harmless prank': When he was a boy he also used to sadistically insert firecrackers into frogs and blow them up for kicks. Little wonder that under his leadership, for the first time Americans are engaging in the shameful and counter-productive practice of torturing prisoners in places like Abu Ghraib Prision.Then there's the Bush family alliance with the greatest evil in history - Adolph Hitler. Bush's grandfather Prescott Bush, also a 'scull and bones' man, got rich first by helping the Nazis come to power, then helping Hitler build the war machine that would decimate the world, and then even benefiting from Nazi slave labor and the extermination of millions of Jews. Auschwitz was built near coal deposits so that slave labor could be used in one of Prescott Bush's holdings, the Silesian American Corporation. Even after the US declared war on Germany, Prescott Bush continued violating the Trading With the Enemy Act, until the government finally shut him down late in 1942 - but not before making him rich, and establishing the Bush family as a power in American politics.Sometime in the early 1830s, a Yale student named William H. Russell—the future valedictorian of the class of 1833- traveled to Germany to study for a year. Russell came from an inordinately wealthy family that ran one of America's most despicable business organizations of the nineteenth century: Russell and Company, an opium empire. Russell would later become a member of the Connecticut state legislature, a general in the Connecticut National Guard, and the founder of the Collegiate and Commercial Institute in New Haven. While in Germany, Russell befriended the leader of an insidious German secret society that hailed the death's head as its logo. Russell soon became caught up in this group, itself a sinister outgrowth of the notorious eighteenth-century society the Illuminati. When Russell returned to the United States, he found an atmosphere so Anti-Masonic that even his beloved Phi Beta Kappa, the honor society, had been unceremoniously stripped of its secrecy. Incensed, Russell rounded up a group of the most promising students in his class-including Alphonso Taft, the future secretary of war, attorney general, minister to Austria, ambassador to Russia, and father of future president William Howard Taft-and out of vengeance constructed the most powerful secret society the United States has ever known.The men called their organization the Brotherhood of Death, or, more informally, the Order of Skull and Bones. They adopted the numerological symbol 322 because their group was the second chapter of the German organization and founded in 1832. They worshiped the goddess Eulogia, celebrated pirates, and plotted an underground conspiracy to dominate the world. Fast-forward 170 years. Skull and Bones has curled its tentacles into every corner of American society. This tiny club has set up networks that have thrust three members into the most powerful political position in the world. And the group's influence is only increasing-the 2004 presidential election might showcase the first time each ticket has been led by a Bonesman. The secret society is now, as one historian admonishes, " 'an international mafia'. . . unregulated and all but unknown." In its quest to create a New World Order that restricts individual freedoms and places ultimate power solely in the hands of a small cult of wealthy, prominent families, Skull and Bones has already succeeded in infiltrating nearly every major research, policy, financial, media, and government institution in the country. Skull and Bones, in fact, has been running the United States for years.Skull and Bones cultivates its talent by selecting members from the junior class at Yale University, a school known for its strange, Gothic elitism and its rigid devotion to the past. The society screens its candidates carefully, favoring Protestants and, now, white Catholics, with special affection for the children of wealthy East Coast Skull and Bones members. Skull and Bones has been dominated by about two dozen of the country's most prominent families—Bush, Bundy, Harriman, Lord, Phelps, Rockefeller, Taft, and Whitney among them—who are encouraged by the society to intermarry so that its power is consolidated. In fact, Skull and Bones forces members to confess their entire sexual histories so that the club, as a eugenics overlord, can determine whether a new Bonesman will be fit to mingle with the bloodlines of the powerful Skull and Bones dynasties. A rebel will not make Skull and Bones; nor will anyone whose background in any way indicates that he will not sacrifice for the greater good of the larger organization.As soon as initiates are allowed into the "tomb," a dark, windowless crypt in New Haven with a roof that serves as a landing pad for the society's private helicopter, they are sworn to silence and told they must forever deny that they are members of this organization. During initiation, which involves ritualistic psychological conditioning, the juniors wrestle in mud and are physically beaten—this stage of the ceremony represents their "death" to the world as they have known it. They then lie naked in coffins, masturbate, and reveal to the society their innermost sexual secrets. After this cleansing, the Bonesmen give the initiates robes to represent their new identities as individuals with a higher purpose. The society anoints the initiate with a new name, symbolizing his rebirth and rechristening as Knight X, a member of the Order. It is during this initiation that the new members are introduced to the artifacts in the tomb, among them Nazi memorabilia—including a set of Hitler's silverware-dozens of skulls, and an assortment of decorative tchotchkes: coffins, skeletons, and innards. They are also introduced to "the Bones whore," the tomb's only full-time resident, who helps to ensure that the Bonesmen leave the tomb more mature than when they entered. Members of Skull and Bones must make some sacrifices to the society—and they are threatened with blackmail so that they remain loyal—but they are remunerated with honors and rewards, including a graduation gift of $15,000 and a wedding gift of a tall grandfather clock. Though they must tithe their estates to the society, each member is guaranteed financial security for life; in this way, Bones can ensure that no member will feel the need to sell the secrets of the society in order to make a living. And it works: No one has publicly breathed a word about his Skull and Bones membership, ever. Bonesmen are automatically offered jobs at the many investment banks and law firms dominated by their secret society brothers. They are also given exclusive access to the Skull and Bones island, a lush retreat built for millionaires, with a lavish mansion and a bevy of women at the members' disposal. The influence of the cabal begins at Yale, where Skull and Bones has appropriated university funds for its own use, leaving the school virtually impoverished. Skull and Bones' corporate shell, the Russell Trust Association, owns nearly all of the university's real estate, as well as most of the land in Connecticut. Skull and Bones has controlled Yale's faculty and campus publications so that students cannot speak openly about it. "Year by year," the campus's only anti-society publication stated during its brief tenure in 1873, "the deadly evil is growing."The year in the tomb at Yale instills within members an unwavering loyalty to Skull and Bones. Members have been known to stab their Skull and Bones pins into their skin to keep them in place during swimming or bathing. The knights (as the student members are called) learn quickly that their allegiance to the society must supersede all else: family, friendships, country, God. They are taught that once they get out into the world, they are expected to reach positions of prominence so that they can further elevate the society's status and help promote the standing of their fellow Bonesmen. This purpose has driven Bonesmen to ascend to the top levels of so many fields that, as one historian observes, "at any one time The Order can call on members in any area of American society to do what has to be done." Several Bonesmen have been senators, congressmen, Supreme Court justices, and Cabinet officials. There is a Bones cell in the CIA, which uses the society as a recruiting ground because the members are so obviously adept at keeping secrets. Society members dominate financial institutions such as J. P. Morgan, Morgan Stanley Dean Witter, and Brown Brothers Harriman, where at one time more than a third of the partners were Bonesmen. Through these companies, Skull and Bones provided financial backing to Adolf Hitler because the society then followed a Nazi-and now follows a neo-Nazi—doctrine. At least a dozen Bonesmen have been linked to the Federal Reserve, including the first chairman of the New York Federal Reserve. Skull and Bones members control the wealth of the Rockefeller, Carnegie, and Ford families.Skull and Bones has also taken steps to control the American media.Two of its members founded the law firm that represents the New York Times. Plans for both Time and Newsweek magazines were hatched in the Skull and Bones tomb. The society has controlled publishing houses such as Farrar, Straus & Giroux. In the 1880s, Skull and Bones created the American Historical Association, the American Psychological Association, and the American Economic Association so that the society could ensure that history would be written under its terms and promote its objectives. The society then installed its own members as the presidents of these associations. Under the society's direction, Bonesmen developed and dropped the nuclear bomb and choreographed the Bay of Pigs invasion. Skull and Bones members had ties to Watergate and the Kennedy assassination. They control the Council on Foreign Relations and the Trilateral Commission so that they can push their own political agenda. Skull and Bones government officials have used the number 322 as codes for highly classified diplomatic assignments. The society discriminates against minorities and fought for slavery; indeed eight out of twelve of Yale's residential colleges are named for slave owners while none are named for abolitionists. The society encourages misogyny: it did not admit women until the 1990s because members did not believe women were capable of handling the Skull and Bones experience and because they said they feared incidents of date rape. This society also encourages grave robbing: deep within the bowels of the tomb are the stolen skulls of the Apache chief Geronimo, Pancho Villa, and former president Martin Van Buren.Finally, the society has taken measures to ensure that the secrets of Skull and Bones slip ungraspable like sand through open fingers. Journalist Ron Rosenbaum, who wrote a long but not probing article about the society in the 1970s, claimed that a source warned him not to get too close."What bank do you have your checking account at?" this party asked me in the middle of a discussion of the Mithraic aspects of the Bones ritual.I named the bank. "Aha," said the party. "There are three Bonesmen on the board. You'll never have a line of credit again. They'll tap your phone. They'll. . . ". . .The source continued: "The alumni still care. Don't laugh. They don't like people tampering and prying. The power of Bones is incredible. They've got their hands on every lever of power in the country. You'll see—it's like trying to look into the Mafia."In the 1980s, a man known only as Steve had contracts to write two books on the society, using documents and photographs he had acquired from the Bones crypt. But Skull and Bones found out about Steve. Society members broke into his apartment, stole the documents, harassed the would-be author, and scared him into hiding, where he has remained ever since. The books were never completed. In Universal Pictures' thriller The Skulls (2000), an aspiring journalist is writing a profile of the society for the New York Times. When he sneaks into the tomb, the Skulls murder him. The real Skull and Bones tomb displays a bloody knife in a glass case. It is said that when a Bonesman stole documents and threatened to publish society secrets if the members did not pay him a determined amount of money, they used that knife to kill him. This, then, is the legend of Skull and Bones.It is astonishing that so many people continue to believe, even in twenty-first-century America, that a tiny college club wields such an enormous amount of influence on the world's only superpower. The breadth of clout ascribed to this organization is practically as wide-ranging as the leverage of the satirical secret society the Stonecutters introduced in an episode of The Simpsons. The Stonecutters theme song included the lyrics:Who controls the British crown? Who keeps the metric system down? We do! We do. . .Who holds back the electric car? Who makes Steve Guttenberg a star? We do! We do.Certainly, Skull and Bones does cross boundaries in order to attempt to stay out of the public spotlight. When I wrote an article about the society for the Atlantic Monthly in May 2000, an older Bonesman said to me, "If it's not portrayed positively, I'm sending a couple of my friends after you." After the article was published, I received a telephone call at my office from a fellow journalist, who is a member of Skull and Bones.He scolded me for writing the article—"writing that article was not an ethical or honorable way to make a decent living in journalism," he condescended —and then asked me how much I had been paid for the story. When I refused to answer, he hung up. Fifteen minutes later, he called back."I have just gotten off the phone with our people." "Your people?" I snickered."Yes. Our people." He told me that the society demanded to know where I got my information."I've never been in the tomb and I did nothing illegal in the process of reporting this article," I replied."Then you must have gotten something from one of us. Tell me whom you spoke to. We just want to talk to them," he wheedled. "I don't reveal my sources."Then he got angry. He screamed at me for a while about how dishonorable I was for writing the article. "A lot of people are very despondent over this!" he yelled. "Fifteen Yale juniors are very, very upset!" I thanked him for telling me his concerns."There are a lot of us at newspapers and at political journalism institutions," he coldly hissed. "Good luck with your career"—and he slammed down the phone.Skull and Bones, particularly in recent years, has managed to pervade both popular and political culture. In the 1992 race for the Republican presidential nomination, Pat Buchanan accused President George Bush of running "a Skull and Bones presidency." In 1993, during Jeb Bush's Florida gubernatorial campaign, one of his constituents asked him, "You're familiar with the Skull and Crossbones Society?" When Bush responded, "Yeah, I've heard about it," the constituent persisted, "Well, can you tell the people here what your family membership in that is? Isn't your aim to take control of the United States?" In January 2001, New York Times columnist Maureen Dowd used Skull and Bones in a simile: "When W. met the press with his choice for attorney general, John Ashcroft, before Christmas, he vividly showed how important it is to him that his White House be as leak-proof as the Skull & Bones 'tomb.'"That was less than a year after the Universal Pictures film introduced the secret society to a new demographic perhaps uninitiated into the doctrines of modern-day conspiracy theory. Not long before the movie was previewed in theaters—and perhaps in anticipation of the election of George W. Bush—a letter was distributed to members from Skull and Bones headquarters. "In view of the political happenings in the barbarian world," the memo read, "I feel compelled to remind all of the tradition of privacy and confidentiality essential to the well-being of our Order and strongly urge stout resistance to the seductions and blandishments of the Fourth Estate." This vow of silence remains the society's most important rule. Bonesmen have been exceedingly careful not to break this code of secrecy, and have kept specific details about the organization out of the press. Indeed, given the unusual, strict written reminder to stay silent, members of Skull and Bones may well refuse to speak to any member of the media ever again.But they have already spoken to me. When? Over the past three years. Why? Perhaps because I am a member of one of Skull and Bones' kindred Yale secret societies. Perhaps because some of them are tired of the Skull and Bones legend, of the claims of conspiracy theorists and some of their fellow Bonesmen. What follows, then, is the truth about Skull and Bones. And if this truth does not contain all of the conspiratorial elements that the Skull and Bones legend projects, it is perhaps all the more interesting for that fact. The story of Skull and Bones is not just the story of a remarkable secret society, but a remarkable society of secrets, some with basis in truth, some nothing but fog. Much of the way we understand the world of power involves myriad assumptions of connection and control, of cause and effect, and of coincidence that surely cannot be coincidence.Most of the speculative lore about the Skull and Bones ritual has centered on its death fixation. Beyond the obvious skull-and-crossbones insignia, of course, the most persistent story is that initiates spend their senior year in the basement crypt of the Bones Tomb taking turns lying in a coffin and, in two long, intense, psycho-drama autobiographical sessions in said coffins, recount their personal and sexual history to the other 14 chosen ones. The better to bond for life with those they know best and prepare for their destiny as stewards of the ruling class. The death-centered imagery, the injunction to initiates that they must "die to the barbarian world" and be reborn in the Elysian company of the elect of "The Order," as they call it, is what makes Skull and Bones as radically different from a college fraternity as the Gambino family is from the "hunting and fishing club" that was their nominal headquarters. The hangman equals death. The devil equals death. Death equals death .... What the hell is going on there? Is it a puzzle in logic, like "All men are mortal. Socrates is mortal ..."? Does it solve out to "The hangman equals the devil?" Could one detect a capital-punishment theme here--the hangman as executioner presaging George W.'s prolific execution rate as Texas governor? "George W. equals death," you might say. And what about the devil? (Well, the figure dressed like the devil.) Is that the secret they've been covering up ever since the society was founded in 1832, the offshoot of a German secret society: devil worship? A fulfillment of the paranoid fantasies of the fundamentalist right, who believe the Eastern establishment is a front for Satanic conspiracy. Probably not, but it made me more eager to participate in this year's caper: the attempt to see as well as hear it, to capture it all on video--for educational, historical and journalistic purposes to document a defining rite of passage of the American ruling class. Oh, yes--before we get to the night-vision videotape, there was one more thing, the embarrassing part of the audiotape, the OOGA-BOOGA part. Part of the ceremony on the tape involved an initiation master ordering the neophytes to fetch bones and uttering the (I guess) fake Tarzan-movie "native" chant "OOGA BOOGA." It left me feeling embarrassed for Skull and Bones. Hard to ever take seriously again anyone whose defining life-mission moment includes an OOGA BOOGA. But as it turned out, "OOGA BOOGA" was not evident in this year's ceremony, as far as we were able to tell. Perhaps it was an improvisation, like this year's impersonation of George W. ("I'll ream you like I reamed Al Gore") was. The Observer Mission Impossible Force met to plot strategy an hour before sunset on initiation night, Saturday, April 12. It is not widely known, but Tap Night, which occurs on Thursday, is not generally the same as initiation night. The good stuff happens on Saturday night, and already limos are cruising the quiet streets that crisscross the Yale campus, conveying initiates of other secret societies to their rituals. Bones initiates come on foot, knock on the massive triple-locked wooden door of the Tomb and are conveyed to the first stage of the ritual. But we are getting ahead of ourselves. Let me just mention how much I admired the intrepid Yale members of the Observer Bones Task Force for displaying the kind of curiosity, initiative and heretical, skeptical impulse apparently absent on most Ivy campuses, if you believe David Brooks' recent Atlantic Monthly cover story on get-along-go-along premature careerists. The guys on my team will make more of a real contribution than any of the smug secret-society types. First on the agenda was a quick examination of the Bones income-tax filings, which an outside consultant to the team had obtained through Freedom of Information Act requests. He and Peggy Adler pointed out to me a couple of dubious assertions on the Form 990's (Return of Organization Exempt from Income Tax), which called into question certain of the grounds for charitable exemption. In particular, there was the assertion in the 1997 RTA Incorporated filing (Part VI, line 80b) that the organization was not "related ... through common membership, governing bodies, trustees, officers etc. to any other exempt or non-exempt organization." Contradicting that assertion is information on the filing of the Deer Island Club Corporation. Deer Island is the private island of the Skull and Bones Society, located in the St. Lawrence River. It is the place where Bones members bring their families for summer get-togethers. It is wholly owned and run by Skull and Bones members, apparently contradicting Bones' claim of "no relationship" to another exempt organization, and appearing to contradict the strictly educational and charitable mission for which RTA gets its exemption for Skull and Bones. The consultant argues in a memo that the purpose of the 80b question on the Bones deduction claim form "is to prevent tax exempt charities from undertaking non-charitable activities by hiding them in another corporation. This is of course precisely what RTA Inc. is accomplishing through the Deer Island Club Corporation. In order to conceal this arrangement however RTA Inc. denies its connection to the DICC." In fact, he goes on, "RTA and the DICC are so closely linked that for all intents and purposes RTA Inc. does own Deer Island despite its claims to the contrary." I'm not going to go into the whole tax issue here. Perhaps the Bones shell corporation has a good and valid reason for claiming that it has no connection to the Bones private-island country club.** Perhaps this sort of thing goes on all the time among the private charities of the privileged. I don't think Deer Island will become George W. Bush's Whitewater. But one might think that a scrupulous White House counsel would want to look at the kind of tax information George W.'s secret society is filing on his behalf. Particularly since he's promising enormous windfalls for the privileged, the tax breaks his secret society takes should be utterly beyond suspicion. Does the President, I'd like to know, claim his Skull and Bones dues as a charitable deduction, when the only charity seems to be providing a club house and country house for the privileged? The RTA filing claims Skull and Bones exists "for the benefit of Yale University." But Yale--which celebrates three centuries of luminous atainments this weekend--ought to question what "benefit" it gets from chants of "lick my bumhole" and the mockery of Abner Louima. Anyway, as night came falling and we choreographed the evening's caper, I felt that we were carrying on an old-fashioned, longstanding tradition: the natural reaction of the democratic (small D) tradition to elitist power that conceals itself within the cloak of privilege and secrecy. And for me, it was a culmination of my own quarter-century quest, one that had become personalized lately by the fact that our Skull and Bones President had been a classmate of mine at Yale. 'Run, Neophyte, Run!' At last, zero hour approached. For two centuries, the outside world had wondered and fantasized about what was about to happen, what actually went on in the fabled Skull and Bones initiation. There's a long tradition of Yale secret societies (including Bones) raiding other secret societies to capture their ritual artifacts. In the 1970's, an all-woman break-in team published photographs of the Bone's Tomb's interior. But tonight, for the first time ever, we would attempt to capture the actual secret initiation ritual and bring it to light for anthropological study. Our team's equipment included three night-vision-capable digital-video cameras, one tape recorder, a stepladder and two walkie-talkies. (I could never get mine to work.) Because of a recent injury which limits my mobility, I was stationed at a listening post with my tape recorder while the video-cam team proceeded to their more perilous perch at the forward base (as those of us in special ops call it). We planned to rendezvous afterward for me to view the tape. We split up just as the whoops and groans, the screams and moans began to emanate from inside the Tomb and the masters of the Skull and Bones initiation began establishing the posts they'd man for the occult psycho-drama to come. From my post, I could see through an open window shadowy figures walking very close above my head. Later I'll put my audio impressions together with the video-cam record the other team obtained for a more complete picture, but first let me transcribe some of the notes I made from listening in. Fragmentary as they are, they capture some of the strangeness, and perhaps the kind of disorientation the initiates themselves experienced there in the courtyard of Skull and Bones. First, there was the guy posing as George W. He seemed to be a bit disgruntled at being given this role--a feeling he expressed by calling out in his George W. drawl to another "Patriarch" (as they're called): "I got the power to bomb the crap out of China and they give me this station." Then someone--one of the initiates?--called out "Uncle Toby!" (Many Bone ritual personae are taken from Laurence Sterne's Tristram Shandy-- you gotta give them credit there for good taste.) "Uncle Toby!" the cry repeated. "Shut up, neophyte." "Take that plunger out of my ass, Uncle Toby." Presumably, this mocking Louima reference was a ploy to scare initiates into thinking Uncle Toby was going to give them the plunger treatment. That cheerful rectal theme was followed up by: "I'm gonna ream you like I reamed Al Gore!" from the George W. imitator. Followed by "Help me! It's the devil!" And then "George W." really getting into it: "I'm gonna kill you like I killed Al Gore." Silence. Then a door opened. Voices--half of them, it seemed, women--were screaming: "Run! Neophyte! Run, neophyte!" (The neophytes are, of course, the new initiates.) From my post, I could only see hooded figures racing about in the darkness above my head, accompanied by cries of: "Run, neophyte!" "Find the femur!" And (again): "Take that plunger out of my ass, Uncle Toby!" Then silence for awhile. The neophyte seemed to have gone back inside the Tomb. After which one of the Patriarchs complained, "We ought to get better blood than this fuckin' syrup, man." It was only later that I learned what the blood was for: the whole throat-slitting "barbarian" tableau after the skull-kissing."Find the femur, neophyte!" Along with the occasional "Lick my bumhole!" "Remove the plunger!"—type outcries. The devil figure pulled them into a white tent in the courtyard where, we think, they found their femurs and emerged with what looked like a thigh bone, although it was impossible to tell whether it once belonged to a human or not. When they reemerged from the tent, they were led to the centerpiece of this part of the ritual. They were forced face-to-face with a shocking tableau: a guy holding what seemed like a butcher knife, wearing a kind of animal-skin "barbarian" look, stood over what seemed to be a woman covered in fake blood and not much else. The neophyte then approached a skull a few feet away from the knife-wielder-and-victim tableau. The neophyte knelt and kissed the skull, at which point the guy with the knife knelt and cut the throat of the prone figure. (Well, pretended to cut the throat.) I'm not sure what it all means. I've yet to decode the mystical significance of this, although I do love to think of former President George Bush kissing the skull. Obviously, it has something to do with subservience. Kiss the skull of power. Bow down to The Order. But what about the "barbarian" cutting the throat of his victim? Does it mean "One dies to the barbarian world"? Does it mean "Death to the barbarians"? Does it endorse cutthroat tactics? Is that how they enforce silence and secrecy? I plan to continue my relentless study of the hermeneutics of the Bones rituals, myths and symbolism based on these new revelations, and perhaps with the help of a Bones graduate who feels the time has come to lift the veil on the silly (and no longer even secret) symbolism of their society. (Contact me privately c/o The Edgy Alliance, 577 Second Avenue, Box 105, N.Y., N.Y. 10016.) All that death imagery, though: Maybe it's meant to be a first ritualistic confrontation with Mortality, the skull as a memento mori designed to instill in the "neophyte" a sense of the gravity of one's mission in life. In that regard, consider the direct relevance of at least one aspect of the ritual to George W. That recurrent phrase: "Run, neophyte, run!" Think about it. When George W. was first considering the fairly serious shift from baseball-team owner (whose major achievement was trading away Sammy Sosa) to governor of Texas, or when he was considering the shift from one-term governor of Texas to President of the United States, what decided him--what made him think he could pull it off, despite years as a semi-permanent neophyte? Could it be that what he heard, echoing in his brain, down the corridors of the years, was the injunction from that long-ago April night when he was a Skull and Bones initiate? When he bent down to kiss the skull and heard, resounding in his ears, the command: "Run, neophyte, run!"Those on the inside know it as The Order. Others have known it for more than 150 years as Chapter 322 of a German secret society. More formally, for legal purposes, The Order was incorporated as The Russell Trust in 1856. It was also once known as the "Brotherhood of Death". In America it is called the 'Skull & Bones' club, The American chapter of this German order was founded in 1833 at Yale University by General William Huntington Russell and Alphonso Taft who, in 1876, became Secretary of War in the Grant ministration. Alphonso Taft was the father of William Howard Taft, the only man to be both President and Chief Justice of the United States. It is a senior year society which exists only at Yale. Members are chosen in their junior year and spend only one year on campus, the senior year, with Skull & Bones. In other words, the organization is oriented to the graduate outside world. The Order meets annually - patriarchies only - on Deer Island in the St. Lawrence River. Senior societies are unique to Yale. There are two other senior societies at Yale, but none elsewhere. Scroll & Key and Wolf's Head are supposedly competitive societies founded in the mid-19th century. We believe these to be part of the same network. Rosenbaum commented in his "Esquire" article, very accurately, that anyone in the Eastern Liberal Establishment who is not a member of Skull & Bones group is almost certainly a member of either the Scroll and Key or the Wolf's Head . The selection procedure for new members of The Order has not changed since 1832. Each year 15, and only 15, never fewer, are selected. In the past 150 years about 2500 Yale graduates have been initiated into The Order. At any time about 500-600 are alive and active. Roughly about one- quarter of these take an active role in furthering the objectives of The Order. The others either lose interest or just change their minds. The most likely potential member is from a Bones family, who is energetic, resourceful, political and probably an amoral team player. ... Honours and financial rewards are guaranteed by the power of The Order,but the price of these honours and rewards is sacrifice to the common goal of The Order.Some have not been willing to pay this price. The Old Line American families and their descendants involved in the Skull & Bones are names such as the following:Whitney,Perkins, Stimson, Harriman, Rockefeller, Lord, Brown, Bundy, Bush and Phelps. The order is not just another Greek letter fraternal society with passwords and handgrips common to most campuses. Chapter 322 is a secret society whose members are sworn to silence. It has rules and ceremonial rites. It is not at all happy with prying, probing citizens - known among initiates as 'outsiders' or 'vandals'. Its members always deny membership. An interesting point is whether the many members in various Administrations or who hold government positions have declared their members in the biographical data supplied for FBI 'background checks'. We doult this fact as test cases along with freemason membership often goes unrecorded.Pressure is now being placed to correct this.Between 1983-1986, the British-born conspiracy theorist Antony Sutton wrote a series of pamphlets about the Order of Skull & Bones. According to informed sources, Sutton was one of several historians who were provided with a large file of the Order's internal documents, including minutes of some meetings, descriptions of rituals, and what would appear to be a rather complete list of its members from its founding through to the early 1980s. The short pamphlets were compiled into one volume and published as a book in 1986.For someone closely following the just-concluded Persian Gulf War and attempting to gain some insight into George Bush's performance during that largely orchestrated affair, one recurring theme in the Sutton volume stands out like a sore thumb: the New World Order.According to the Skull & Bones documents used by Sutton in his somewhat flawed profile of the Order, the creation of a New World Order is a primary goal of the Bonesmen and has been for decades. For the initiates into the Order, the term New World Order has a very specific meaning.It is a world dominated by American military power and American control over all strategic raw materials. Just as the Greek city-state of Sparta provided the Skull & Bones with the image of a WASP warrior caste, the Persian Empire, with its system of coalitions of satrap armies, provides the model for the Bonesmen's New World Order. The image of Secretary of State James A. Baker III traveling from foreign capital to foreign capital demanding military legions or chests of gold to finance the war for a New World Order is an image straight out of the chronicles of the Persian Empire.According to the recent biography of Henry Stimson, the man who inspired President Bush was firmly convinced that it was essential for America to go to war once every generation or so. It was, for Stimson, a spiritually cleansing process which enables the nation to rally behind a cause and overcome its weaknesses and shortcomings in one grand burst of military fervor. The romantic mystique of the purgative powers of combat is key to understanding the political philosophy of Skull & Bones.Although America's Vietnam debacle remains a bitter memory of the Bonesmen's failure in war, the recent Persian Gulf conflict, with its massive overkill and the use of highly advanced weapons and technologies, is now the new glorious symbol of the WASP warrior caste's reincarnation. When President Bush vowed that the Gulf War would not be another Vietnam, he was speaking first and foremost to his fellow Bonesmen -- not to the American people. If such thinking smacks of dangerous fantasy on the part of a major world power in the modern era, it is indeed.On a more practical political level, the Gulf War was a gambit to save the Bush presidency from a mounting pile of domestic financial woes, not the least of which was the savings and loan (S&L) crisis and a pending series of failures of major commercial banks. In the months preceding the Gulf showdown, the president's own son, Neil Bush, came under intense media scrutiny for his role in the failure of a large S&L in Colorado. Neil's photograph, testifying under oath before a congressional committee probing fraud among top S & L managers, became a familiar front-page feature in every major newspaper in America, threatening dangerous popular disillusion with the Yale Bonesman in the White House. With a U.S. federal government deficit projected at nearly a half a trillion dollars for Fiscal Year 1991, in large part because of the S&L crisis and a shrinking business tax base, the Democratic Party majority in the U.S. Congress was pressing for deep cutbacks in defense spending now that the Cold War had ended.On the international stage, the reunification of Germany, clearly the most dramatic event of 1990, posed new challenges to the Bush team. Germany was about to emerge as the dominant power in continental Europe by virtue of its advanced industrial infrastructure and its long tradition of independent political dealings with Moscow. Just months before the outbreak of the Gulf crisis, Germany's Chancellor Helmut Kohl had met with Soviet President Mikhail Gorbachev and signed a long term economic assistance pact. As a result, Gorbachev dropped all remaining objections to the immediate reunification of Germany.At that point, the Bush administration changed its tactics. Previously, in sharp contrast to the Thatcher government in Great Britain, it had been nominally in favor of German reunification. But at the Houston economic summit of the Group of Seven Industrialized Countries in the summer of 1990, the United States blocked (with Britain) Germany's plan of unconditional economic aid to the Soviet Union. President Bush took the position that the Soviet Union must submit to International Monetary Fund requisites as a precondition for any substantive economic assistance.In the Far East, Japan's continuing growth in manufacturing also posed a threat to Washington's desire to retain superpower status. If President Bush and his Bonesmen coterie were unaware of a stunning historical analogy, their British "cousins" were quick to pick up on the parallels between the global strategic situation in July 1990 and the identical international situation that existed 100 years earlier.In the 1890s, France, under the brilliant political leadership of Foreign Minister Gabriel Hanataux, was attempting to forge a Eurasian alliance with Germany, Russia and Meiji Japan. The idea was to link continental Europe with Japan and China through a series of large overland infrastructure projects, beginning with the Trans-Siberian Railroad. Through treaties covering key areas of economic and security matters, Hanataux hoped to create a zone of prosperity, built on a foundation of rapid economic growth and extensive trade.Such a political-economic common interest alliance threatened the imperial hegemony of Great Britain. At the turn of the 20th century, Britain looked to the United States (as its English-speaking ally) to join in sabotaging the Hanataux plan. Through the Spanish-American War of 1898 and the Russo-Japanese War of 1905, Britain and her American junior partner (by then led by Henry Stimson's old mentor Teddy Roosevelt) managed to disrupt the French-German-Russian-Japanese economic axis. Two world wars and the Great Depression were the consequences of that interference.THE PERSIAN GULF WARIt was against this historical backdrop that President Bush, invoking the World War II imagery of his Skull & Bones idol Henry Stimson, went to war against Iraq. There is even speculation that President Bush was personally instrumental in luring Saddam Hussein into invading Kuwait, thereby provoking the American-led military response. Many news accounts have emphasized that a two-hour private meeting between the president and Margaret Thatcher in the Aspen, Colorado vacation chalet of U.S. Ambassador Henry Catto on August 2, 1990 helped finalize Bush's decision to immediately deploy military force.Recently, an astute Japanese analyst drew a disturbing parallel between Bush and FDR, who was greatly influenced by Stimson. According to the writer, FDR lured Japan into World War II through an intricate series of economic warfare maneuvers which left Japan with little choice but to strike-back. In much the same way, said the analyst, Bush had lured Saddam Hussein into Kuwait in order to launch a new Gulf War that would have consequences reaching far beyond Iraq and the Middle East.As a result of the military victory over Iraq, the United States is in the process of establishing a string of permanent military bases throughout the Persian Gulf and Near East. The oil sheikdoms of the region, led by Saudi Arabia, are now thoroughly dependent on the American military presence to ensure the survival of their regimes. The Organization of Petroleum Exporting Countries (OPEC) is effectively captured by Washington. American bankers aided by U.S. gunboats now are setting world oil prices. Thus, one consequence of the Persian Gulf War is that the United States now has an oil weapon -- pointed principally at Germany and Japan. Ironically, America's two chief economic rivals have paid out a total of $27 billion to date to help finance a Bush administration military adventure which put the oil weapon in Washington's hand.Another telling example of how the Order's man in the Oval Office intends to administer a crumbling U.S. domestic economy while imposing the New World Order on the rest of the world is to be found in the recent buyout of the majority of stock in Citicorp, the largest U.S. commercial bank, by Saudi Prince Talal bin Abdul Aziz. Citicorp is one of the major American commercial banks on the verge of collapse, but which is considered by the Bush administration and the Federal Reserve System to be "too big to fall." The stock purchase amounted to a Saudi Royal Family bail-out of Citicorp, using the increased profits being enjoyed by the House of Saud as a result of the massive jump in Saudi oil production since the beginning of the Gulf crisis in August 1990.There points up a striking difference between the role of the United States in World War II and the Bush administration's handling to date of the Middle East crisis. During World War II, the United States went through a genuine economic revival. Skull & Bones historian Samuel Huntington described it as a "neo Hamiltonian" policy, a reference to the first United States Secretary of the Treasury Alexander Hamilton. (Less)
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Traditional animation, also referred to as classical animation, cel animation, or hand-drawn (More) RULO Y GONZALEZ
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Traditional animation, also referred to as classical animation, cel animation, or hand-drawn animation, is the oldest and historically the most popular form of animation. In a traditionally-animated cartoon, each frame is drawn by hand.
The traditional animation process
Storyboards
Traditionally-animated productions, just like other forms of animation, usually begin life as a storyboard, which is a script of sorts written with images as well as words, similar to a giant comic strip. The images allow the animation team to plan the flow of the plot and the composition of the imagery. The storyboard artists will have regular meetings with the director, and may have to redraw or "re-board" a sequence many times before it meets final approval.
Voice recording
Before true animation begins, a preliminary soundtrack or "scratch track" is recorded, so that the animation may be more precisely synchronized to the soundtrack. Given the slow, methodical manner in which traditional animation is produced, it is almost always easier to synchronize animation to a pre-existing soundtrack than it is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors. However, the scratch track used during animation typically contains just the voices, any vocal songs that the characters must sing along to, and temporary musical score tracks; the final score and sound effects are added in post-production.
In the case of most pre-1930 sound animated cartoons, the sound was post-synched; that is, the sound track was recorded after the film elements were finished by watching the film and performing the dialogue, music, and sound effects required. Some studios, most notably Fleischer Studios, continued to post-synch their cartoons later, which allowed for the presence of the "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons. Although virtually all American animation is now pre-synched (and has been since the 1930s), nearly all Japanese animation (anime) is post-synched.
Animatics
Often, an animatic or story reel is made after the soundtrack is created, but before full animation begins. An animatic typically consists of pictures of the storyboard synchronized with the soundtrack. This allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard is perfected. Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film; as traditional animation is a very expensive and time-consuming process, creating scenes that will eventually be edited out of the completed cartoon is strictly avoided.
In the mid 1970's these were known as Videomatics and used primarily for test commercial projects.
Advertising agencies today employ the use of animatics to test their commercials before they are made into full up spots. Animatics use drawn artwork, with moving pieces (ie: an arm that reaches for a product, or a head that turns). Video storyboards are the same thing as animatics, but do not have moving pieces. Photomatics are another option when creating test spots, but instead of using drawn artwork, there is a shoot in which hundreds of digital photographs are taken. The large amount of images to choose from may make the process of creating a test commercial a bit easier, as opposed to creating an animatic, because changes to drawn art take time and money. Photomatics generally cost more than animatics, as they require a shoot, and on-camera talent.
Design and timing
Once the animatic has been approved, it and the storyboards are sent to the design departments. Character designers prepare model sheets for all important characters and props in the film. These model sheets will show how a character or object looks from a variety of angles with a variety of poses and expressions, so that all artists working on the project can deliver consistent work. Sometimes, small statues known as maquettes may be produced, so that an animator can see what a character looks like in three dimensions. At the same time, the background stylists will do similar work for the settings and locations in the project, and the art directors and color stylists will determine the art style and color schemes to be used.
While design is going on, the timing director (who in many cases will be the main director) takes the animatic and analyzes exactly what poses, drawings, and lip movements will be needed on what frames. An exposure sheet (or X-sheet for short) is created; this is a printed table that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. If a film is based more strongly in music, a bar sheet may be prepared in addition to or instead of an X-sheet. Bar sheets show the relationship between the on-screen action, the dialogue, and the actual musical notation used in the score.
Layout
Layout begins after the designs are completed and approved by the director. The layout process is the same as the blocking out of shots by a cinematographer on a live-action film. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. Character layout artists will determine the major poses for the characters in the scene, and will make a drawing to indicate each pose. For short films, character layouts are often the responsibility of the director.
The layout drawings are spliced into the animatic, using the X-sheet as a guide. Once the animatic is made up of all layout drawings, it is called a Leica reel. The term originates from the Disney Studio in the 1930s, from the frame format used by Leica cameras.
Animation
Key drawings and corrected, inbetweened animation in NoeinOnce the Leica reel is finally approved by the director, animation begins.
In the traditional animation process, animators will begin by drawing sequences of animation on sheets of paper perforated to fit the peg bars in their desks, often using colored pencils, one picture or "frame" at a time. A key animator or lead animator will draw the key drawings in a scene, using the character layouts as a guide. The key animator draws enough of the frames to get across the major points of the action; in a sequence of a character jumping across a gap, the key animator may draw a frame of the character as he is about to leap, two or more frames as the character is flying through the air, and the frame for the character landing on the other side of the gap.
Timing is important for the animators drawing these frames; each frame must match exactly what is going on in the soundtrack at the moment the frame will appear, or else the discrepancy between sound and visual will be distracting to the audience. For example, in high-budget productions, extensive effort is given in making sure a speaking character's mouth matches in shape the sound that character's actor is producing as he or she speaks. (Try making "ah," "ooh" and "ee" sounds out loud, and note how your mouth will subconsciously form a different shape for each sound; good animators must pay attention to such seemingly trivial things).
As they are working on a scene, a key animator will usually prepare a pencil test of the scene. A pencil test is a preliminary version of the final animated scene; the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon before passing the work on to his assistant animators, who will go add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have his scene sweatboxed, or reviewed by the director, producer, and other key creative team members. Similar to the storyboarding stage, an animator may be required to re-do a scene many times before the director will approve it.
In high-budget animated productions, often each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and a larger group of assistant animators. For scenes where two characters interact, the key animators for both characters will decide which character is "leading" the scene, and that character will be drawn first. The second character will be animated to react to and support the actions of the "leading" character.
Once the key animation is approved, the lead animator forwards the scene on to the clean-up department, made up of the clean-up animators and the inbetweeners. The clean-up animators take the lead and assistant animators' drawings and trace them onto a new sheet of paper, taking care in including all of the details present on the original model sheets, so that it appears that one person animated the entire film. The inbetweeners will draw in whatever frames are still missing in between the other animators' drawings. This procedure is called tweening. The resulting drawings are again pencil-tested and sweatboxed until they meet approval.
At each stage during pencil animation, approved artwork is spliced into the Leica reel.
This process is the same for both character animation and special effects animation, which on most high-budget productions are done in separate departments. Effects animators animate anything that moves and is not a character, including props, vehicles, machinery and phenomena such as fire, rain, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney films since the late-1930s by filming slow-motion footage of water in front of a black background, with the resulting film superimposed over the animation.
Backgrounds
While the animation is being done, the background artists will paint the sets over which the action of each animated sequence will take place. These backgrounds are generally done in gouache or acrylic paint, although some animated productions have used backgrounds done in watercolor, oil paint, or even crayon. Background artists follow very closely the work of the background layout artists and color stylists (which is usually compiled into a workbook for their use), so that the resulting backgrounds are harmonious in tone with the character designs.
Traditional ink-and-paint and camera
Once the clean-ups and in between drawings for a sequence are completed, they are prepared for photography, a process known as ink-and-paint. Each drawing is then transferred from paper to a thin, clear sheet of plastic called a cel, so called because they were once made out of cellulose nitrate (cellulose acetate is now used). The outline of the drawing is inked or photocopied onto the cel, and gouache or a similar type of paint is used on the reverse sides of the cels to add colors in the appropriate shades. In many cases, characters will have more than one color scheme assigned to them; the usage of each one depends upon the mood and lighting of each scene. The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, as the cel of one character can be seen underneath the cel of another; and the opaque background will be seen beneath all of the cels.
A camera used for shooting traditional animation. See also Aerial image.When an entire sequence has been transferred to cels, the photography process begins. Each cel involved in a frame of a sequence is laid on top of each other, with the background at the bottom of the stack. A piece of glass is lowered onto the artwork in order to flatten any irregularities, and the composite image is then photographed by a special animation camera, also called rostrum camera. The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. Each cel has registration holes, small holes along the top or bottom edge of the cel, which allow the cel to be placed on corresponding peg bars before the camera to ensure that each cel aligns with the one before it; if the cells are not aligned in such a manner, the animation, when played at full speed, will appear "jittery." Sometimes, frames may need to be photographed more than once, in order to implement superimpositions and other camera effects. Pans are created by either moving the camera, cels, or backgrounds one step at a time over a succession of frames.
As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack. Again, editing is generally not done in animation, but if it is required it is done at this time, before the final print of the film is ready for duplication or broadcast.
Digital ink and paint
It should be noted that the actual "traditional" ink-and-paint process is no longer in use by any major animated productions at present. The current process, termed "digital ink and paint," is the same as traditional ink and paint until after the animation drawings are completed; instead of being transferred to cels, the animators' drawings are scanned into a computer, where they are colored and processed using one or more of a variety of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder, or printing to film using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-budget animated productions, the bulk of the animation is actually done by animators working in other countries, including Korea, Japan, Singapore, and India).
The last major feature film to use traditional ink and paint was Studio Ghibli's Princess Mononoke (1997); the last animated series to do so was Ed, Edd n Eddy. Minor productions such as Hair High (2004) by Bill Plympton have used traditional cels long after the introduction of digital techniques. Digital ink and paint has been in use at Walt Disney Feature Animation since 1989, where it was used for the final rainbow shot in The Little Mermaid. All subsequent Disney animated features were digitally inked-and-painted, using Disney's proprietary CAPS (Computer Animation Production System) technology, developed primarily by one-time partner Pixar (the last Disney feature using CAPS was Home on the Range). Most other studios use one of a number of other high-end software packages such as Toonz or Toon Boom Studio, Animo, US Animation and even consumer-level applications such as Macromedia Flash.
Computers and video cameras
Computers and video cameras in traditional cel animation can also be used as tools without affecting the film directly, assisting the animators in their work and making the whole process faster and easier. Doing the layouts on a computer is much more effective than doing it the old original way. And video cameras gives the opportunity to see a "sneak preview" of the scenes and how they will look when finished, enabling the animators to correct and improve them without having to complete them first. This can be considered a digital form of pencil testing.
Techniques
The cel & limited animation
This image shows how two transparent cels, each with a different character drawn on them, and an opaque background are photographed together to form the composite image.The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels will be used to animate the speaking character.
For a more complex example, consider, a sequence in which a girl sets a plate upon a table. The table will stay still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate will no longer move, although the girl will continue to move as she draws her arm away from the plate. In this example, after the girl puts the plate down, the plate can then be drawn on a separate cel from the girl. Further frames will feature new cels of the girl, but the plate does not have to be redrawn as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera, in this example the still plate would be painted slightly brighter to compensate for being moved one layer down.
In very early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, then photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one proceeding it. The pre-cel animation was later improved by using techniques like the slash method invented by Raoul Barre; the background and the animated objects were drawn on separate papers. A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed. The cel animation process was invented by Earl Hurd and John Bray in 1915.
In lower-budget productions, this "shortcut" is used in a greater capacity. For example, in a scene in which a man is sitting in a chair and talking, the chair and the body of the man may be the same in every frame; only his head is redrawn, or perhaps even his head stays the same while only his mouth moves. This is known as limited animation. The process was popularized in theatrical cartoons by UPA and used in most television animation, especially that of Hanna-Barbera. The end result does not look very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on small television budgets.
Animation loops
A horse animated by rotoscoping from Edweard Muybridge's 19th century photos. The animation consists of 8 drawings, which are "looped", i.e. repeated over and over.Creating animation loops or animation cycles is a labor-saving technique for animating repetitive motions, such as a character walking or a breeze blowing through the trees. In the case of walking, the character is animated taking a step with their right foot, then a step with their left foot. The loop is created so that, when the sequence repeats, the motion is seamless. However, since an animation loop essentially uses the same bit of animation over and over again, they are easily detected and can in fact become distracting to an audience. In general, they are used only sparingly by productions with moderate or high budgets.
Ryan Larkin's 1969 Academy Award nominated National Film Board of Canada short Walking makes creative use of loops. In addition, a promotional music video featuring the Soul Coughing song "Circles" poked fun at animation loops as they are often seen in The Flintstones, in which Fred and Barney, supposedly walking in a house, wonder why they keep passing the same table and vase over and over again.
[edit] Multiplane camera
Main article: Multiplane camera
The multiplane camera is a tool used to add depth to scenes in 2D animated movies, called the multiplane effect. This visual phenomena is also called the parallax process. The art are placed on different layers of glass plates; in this way, realistic backgrounds and foregrounds can be made. The panorama views in Pinocchio are a well known example on how impressive it can appear. Different versions of the camera have been made through time, but the most famous is the one used by the Walt Disney Studio. Another one, called a tabletop, was made by Fleischer Studios. Miniature sets made of paper cutouts were placed in front of the camera, and the cels between them, creating visually realistic scenes. Others who made their own multiplane camera include Ub Iwerks and Don Bluth.
Hand inking
Originally the cels were inked by hand by first laying them over the artists drawings, and then the inkers traced the outlines of the artwork onto the cels, using different colors. With the invention of xerography (below), hand inking was no longer needed, and this was reflected by the animation's visual style.
Xerography
Applied to animation by Ub Iwerks, the electrostatic copying technique called xerography allowed the drawings to be copied directly onto the cels, leaving only the coloring to the inkers. This saved time and money, and it also made it possible to put in more details and to control the size of the xeroxed objects and characters (this replaced the little known, and seldom used, photographic lines technique at Disney, used to reduce the size of animation when needed). At first it resulted in a more sketchy look, but the method was improved later. Instead of using black lines only, cels with lines in different colors were also possible, using colored toner powder.
The xerographic method was first used by Disney in the short film Goliath II, while the first feature using this process was One Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could be used, even simultaneously. For instance, in The Rescuers the characters outlines are gray. White and blue toners were used for special effects, such as snow and water.
The APT process
Main article: APT process
Invented by David W. Spencer (aka Dave Spencer) for the movie The Black Cauldron, the APT (Animation Photo Transfer) process was a new breakthrough in how to transfer the animators' art onto cels. Compared to Xerography, it looked visually better. Basically, the process was a modification of a repro-photographic process; the artists' work were photographed on high-contrast "litho" film, and the image on the resulting negative was then transferred to a cel covered with a layer of light sensitive dye by making a "sandwich" of the negative and the cel and expose the negative to light. The layer of dye was sandwiched between the other two elements and exposed to the light through the transparent areas of the negative. Because it was actually divided into thinner layers of dye, each in a different color and sensitive to a specific wavelength of light, it was exposed to the relevant wavelengths one at the time. The light caused it to harden and fuse to the surface of the cel, and chemicals were then used to remove the unexposed portion, leaving the drawings in a variety of colors (photo emulsion). Small and delicate details were still inked by hand if needed. Spencer received a Technical award from the Motion Picture Academy for developing this process.
Cel overlay
A cel with inanimate objects made to make the impression of a foreground when laid on top of a ready frame. This creates the illusion of depth, but not as much as a multiplane camera would. A special version of cel overlay is called line overlay, made to complete the background instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was first painted as shapes and figures in flat colors, containing rather few details. Next a cel with detailed black lines was laid directly over it, each line drawn to add more information to the underlaying shape or figure, giving the background the complexity it needed. In this way the visual style of the background will match the visual style of the xeroxed parts of the animation. As the xerographic process evolved, line overlay was left behind.
Computers and traditional animation
Though the process described above is the traditional animation process, painted cels are rare as the computer moves into the animation studio, and the outline drawings are as mentioned in most cases scanned into the computer and filled with digital paint instead of transferred to cels and then colored by hand. The drawings are composited in a computer program on many transparent "layers" much the same way as they are with cels, and made into a sequence of images which may then be transferred onto film or converted to a digital video format. It has even become possible for animators to draw directly into a computer using a graphics tablet or a similar device, where the outline drawings are done in a similar manner as they would be on paper. The development of such paperless 2D animation, or "tablet animation", is likely to replace the traditional pencil and paper not too far into the future, as mentioned in this article, just as cels and traditional paint was replaced when digital ink and paint was fully introduced in the 90's. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need of photographing line tests and scanning.
Though traditional animation is now commonly done with computers, it is important to differentiate computer-assisted traditional animation from 3D computer animation, such as Toy Story and ReBoot. However, often traditional animation and 3D computer animation will be used together, as in Don Bluth's Titan A.E. and Disney's Tarzan and Treasure Planet. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to describe films produced by his studio which incorporated elements of traditional and computer animation equally, such as Spirit: Stallion of the Cimarron and Sinbad: Legend of the Seven Seas.
Interestingly, many modern video games such as Viewtiful Joe, The Legend of Zelda: The Wind Waker and others use "cel-shading" animation filters to make their full 3D animation appear as though it were drawn in a traditional cel style. This technique has recently also been used in the animated movie Appleseed, and was integrated with cel animation in the FOX animated series Futurama.
Rotoscoping
Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation is "traced" over actual film footage of actors and scenery. Traditionally, the live action will be printed out frame by frame and registered. Another piece of paper is then placed over the live action printouts and the action is traced frame by frame using a lightbox. The end result still looks hand drawn but the motion will be remarkably lifelike. Waking Life is a full-length, rotoscoped animated movie, as is American Pop by Ralph Bakshi. The popular music video for A-ha's song "Take On Me" also featured rotoscoped animation, along with live action. In most cases, rotoscoping is mainly used as a guide to aid the animation of realistically rendered human beings, as in Snow White and the Seven Dwarfs, Sleeping Beauty, Pocahontas, and Anastasia.
A method that is related to conventional rotoscoping was later invented. If the movie was supposed to contain inanimate objects like a car or a boat, a small live action model of the object(s) was built and painted white, while the edges of the model were painted with thin black lines. In the next stage the object was filmed like it was supposed to move in the animated scene, either by moving the model or filming it while the camera was sweeping over or around it, or using a combination of both. The film frames were then printed on paper, showing a model made up of the painted black lines. After the artists had added details to the object not present in the live action version of the model, it was xeroxed onto cels. (A notable example is Cruella's car in One Hundred and One Dalmatians.) The process of transferring 3D objects to cels was greatly improved when computer graphics advanced enough to allow the creation of three dimensional computer generated objects (wire frame models) that could be manipulated in any way the animators wanted, and then print the outlines on paper before being copied onto cels using Xerography or the APT process. Even if the use of cels has been left by the majority of animators, computer animated objects in traditional animation has come to stay.
Related to rotoscoping are the methods of vectorizing live-action footage, in order to achieve a very graphical look, like in Richard Linklater's film A Scanner Darkly; and motion-capturing actor's movements to use the data in 3D-animation, like in Robert Zemeckis's "Polar Express".
Live-action hybrids
Similar to the computer animation and traditional animation hybrids described above, occasionally a production will marry both live-action and animated footage. The live-action parts of these productions are usually filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will then be added into the footage later to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it can be done to terrific effect, immersing the audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons by Max Fleischer and Walt Disney's Alice Comedies (begun in 1923). Live-action and animation were later combined to successful effect in features such as The Three Caballeros (1945), Anchors Aweigh (1945), Song of the South (1946), Mary Poppins (1964), Heavy Traffic (1973), Pete's Dragon (1977), Who Framed Roger Rabbit (1988), The Pagemaster (1994) and Space Jam (1996). Other significant live-action hybrids include the music video for Paula Abdul's hit song "Opposites Attract" and numerous television commercials, including those for cereals such as Honey Nut Cheerios, Trix, and Rice Krispies.
Special effects animation
See also: Special effect#Special effects animation
Besides traditional animated characters, objects and backgrounds, many other techniques are used to create special elements such as smoke, lightning and "magic", and to give the animation in general a distinct visual appearance.
Notable examples can be found in movies such as Fantasia, The Little Mermaid and The Secret of NIMH. Today the special effects are mostly done with computers, but earlier they had to be done by hand. To produce these effects, the animators used different techniques, such as drybrush, airbrush, charcoal, grease pencil, backlit animation or, during shooting, the cameraman used multiple exposures with diffusing screens, filters or gels. For instance, the Nutcracker Suite segment in Fantasia has a fairy sequence where stippled cels are used, creating a soft pastel look.
fuente: wikipedia: http://en.wikipedia.org/wiki/Traditional_animation (Less)
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