Crap vid, sorry, literally straight from my snapchat (aduje96 btw) but I went to the Music of Nerdfighteria show at Vidcon and The Gregory Brothers played a medley of their Songify YouTube songs. The two girls standing next to me went crazy as soon as they heard the first notes to All The Way. It was adorable! They were so excited and I just loved seeing them enjoying the song.
It was a weird moment to like have a bunch of people singing along to some YouTube videos. I’m never getting used to it, but it’s one of my favorite things.
This fine lad, @gregoryalanisakov , is still selling out venues all across Europe right now and I both miss the dude, and find myself oddly jealous and wishing I was on that trip too. Such longing I have for far off places, to fill my eyes with such strange and stunning sights. I have a nomadic heart, and it’s been still a bit too long these past months. It’s time to move, time to stir, time to put footprints on brand new soil.
“The Jungle Book was inspired by the 1894 book of the same name by English author Rudyard Kipling. Directed by Wolfgang Reitherman, it was the last film to be produced by Walt Disney, who died during its production. The plot follows Mowgli, a feral child raised in the Indian jungle by wolves, as his friends Bagheera the panther and Baloo the bear try to convince him to leave the jungle before the evil tiger Shere Khan arrives.
After The Sword in the Stone was released, storyman Bill Peet claimed to Walt Disney that ‘we [the animation department] can do more interesting animal characters’ and suggested that Kipling’s The Jungle Book could be used for the studio’s next film. Disney agreed and Peet created an original treatment, with little supervision, as he had done with One Hundred and One Dalmatians and The Sword in the Stone. However, after the disappointing reaction to The Sword in the Stone, Walt Disney decided to become more involved in the story than he had been with the past two films, with his nephew Roy E. Disney saying that ‘[he] certainly influenced everything about it. (…) With Jungle Book, he obviously got hooked on the jungle and the characters that lived there.’
Peet decided to follow closely the dramatic, dark, and sinister tone of Kipling’s book, which is about the struggles between animals and man. However, the film’s writers decided to make the story more straightforward, as the novel is very episodic, with Mowgli going back and forth from the jungle to the Man-Village, and Peet felt that Mowgli returning to the Man-Village should be the ending for the film. Some plot points were taken from Kipling’s 1895 novel The Second Jungle Book.
Disney was not pleased with how the story was turning out, as he felt it was too dark for family viewing and insisted on script changes. Peet refused, and after a long argument, Peet left the Disney studio in January 1964. Disney then assigned Larry Clemmons as his new writer and one of the four story men for the film, giving Clemmons a copy of Kipling’s book, and telling him: ‘The first thing I want you to do is not to read it.’ Clemmons still looked at the novel, and thought it was too disjointed and without continuity, needing adaptations to fit a film script. Although much of Bill Peet’s work was discarded, the personalities of the characters remained in the final film.
Many familiar voices inspired the animators in their creation of the characters and helped them shape their personalities. This use of familiar voices for key characters was a rarity in Disney’s past films. The staff was shocked to hear that a wise cracking comedian, Phil Harris was going to be in a Kipling film. Disney suggested Harris after meeting him at a party. Harris improvised most of his lines, as he considered the scripted lines ‘didn’t feel natural’. After Harris was cast, Disneyland Records president Jimmy Johnson suggested Disney to get Louis Prima as King Louie, as he ‘felt that Louis would be great as foil’. Walt also cast other prominent actors such as George Sanders as Shere Khan and Sebastian Cabot as Bagheera.
David Bailey was originally cast as Mowgli, but his voice changed during production, leading Bailey to not fit the ‘young innocence of Mowgli’s character’ at which the producers were aiming. Thus director Wolfgang Reitherman cast his son Bruce, who had just voiced Christopher Robin in Winnie the Pooh and the Honey Tree. The animators shot footage of Bruce as a guide for the character’s performance.
The characterization of the orangutan King Louie has frequently been cited (including by Anthony Edward Schiappa, Susan Miller, and Greg Rode) as a racial stereotype, especially given the political and civil rights climates in America during the time this film was released. Initially, the producers considered famous jazz musician Louis Armstrong for the role, but to avoid the likely controversy that would result from casting a black person to voice an ape, they instead chose Italian-American musician Louis Prima.
Longtime Disney collaborator Terry Gilkyson was brought in to write the songs for the film. Gilkyson delivered several complete songs which were faithful in tone to Rudyard Kipling’s novel, but Walt Disney felt that his efforts were too dark. The Sherman Brothers were brought in to do a complete rewrite, on the condition that they not read Kipling’s book. The only piece of Gilkyson’s work which survived to the final film was his upbeat tune ‘The Bare Necessities’, which was liked by the rest of the film crew. Walt Disney asked the Shermans to ‘find scary places and write fun songs’ for their compositions, and frequently brought them to storyline sessions.
In the original book, the vultures are grim and evil characters who feast on the dead. Disney lightened it up by having the vultures bearing a physical and vocal resemblance to The Beatles, including the signature mop-top haircut. It was also planned to have the members of the band to both voice the characters and sing their song, ‘That’s What Friends Are For’. However, the Beatles member John Lennon’s refusal to work on animated films in that period led to the idea being discarded. The casting of the vultures still brought a British Invasion musician, Chad Stuart of the duo Chad & Jeremy.
The Jungle Book was released in October 1967, just 10 months after Walt’s death. Produced on a budget of $4 million, the film was a massive success, finishing 1967 as the fourth highest-grossing movie of the year. The Jungle Book received positive reviews upon release, undoubtedly influenced by a nostalgic reaction to the death of Disney. Life magazine referred to it as “the best thing of its kind since Dumbo, another short, bright, unscary and blessedly uncultivated cartoon.’ The song ‘The Bare Necessities’ was nominated for Best Song at the 40th Academy Awards, losing to ‘Talk to the Animals’ from Doctor Dolittle. Academy of Motion Picture Arts and Sciences president Gregory Peck lobbied extensively for this film to be nominated for Best Picture, but was unsuccessful.
According to Elsie Kipling Baimbridge, Rudyard Kipling’s daughter, ‘Mowgli’ is pronounced ‘MAU-glee’ (first syllable rhymes with cow), not ‘MOH-glee’ (first syllable rhymes with go). She reportedly never forgave Walt Disney for the gaffe.
After a studio screening of the finished film Walt Disney’s personal nurse Hazel George came up to animator Ollie Johnston with tears in her eyes and told him that the final shot where Bagheera and Baloo walk off into the sunset was perfect and that it was ‘just the way that Walt had gone out.’”
Giant chief or king of a group of supernatural creatures known as the Fomorians in Irish mythology and who may have been a god of droughts and blights.
He is also referred to as Balar, Balor Béimnech, Balor Balcbéimnech and Balor Birugderc and was known to have had an eye on his forehead that when opened, wrecked destruction. In other tales, he also had an eye on the back of his head that could petrify anyone who looked into it.
His front eye was so destructive that no army could withstand it and was also so heavy, it took four people to lift its eyelid. Later folklore said that Balor wrapped his eye behind seven cloaks to keep it cool.
When the first cloak was removed, ferns withered and died. When the second was removed, the grass reddened. On the removal of the third, wood and trees began to heat up. The trees and wood began to smoke, when the fourth cloak was taken away. When the fifth cloak was removed, everything became red hot. Finally, on the removal of the last two cloaks, the world caught fire.
He gained the eye as a child when noxious fumes from the cauldron of a druid entered it, giving him destructive powers.
Balor was the son of Buarainech and the husband of the prophetesses, Cethlenn who told him that he would die during a battle against the Tuatha Dé Danann. A later prophecy given to Balor by a druid said that he would die by the hands of his grandson leading to the giant to lock his own daughter, Ethniu in a tower on Tory Island, so that she could never have children.
His downfall came when he stole the magical cow, Glas Gaibhnenn from the blacksmith, Goibnui. According to the version written by Lady Gregory, Goibnui’s brother Mac Samthainn was tricked by Balor into giving him the cow, by disguising himself as a young boy.
When the third brother, Mac Cinnfhaelaidh, also known as Cian, heard of the trick, he met with the druidess, Birog who told him that as long as Balor lived, the cow could never be recovered. She then transported him atop Ethniu’s tower where he seduced the woman, leading her to give birth to triplets. Upon discovering this, Balor had a messenger throw the babies into a whirlpool to drown. However, the messenger accidentally dropped one child into the calm waters of the harbour, where he was rescued by Birog who took him to Cian who asks Goibnui to raise his son, who is named Lugh.
Years later, at the second battle of Battle of Mag Tuired, Balor was disarmed by Ogma and either beheaded or blasted the opposing Nuada with his eye. In retaliation, the now grown up Lugh killed Balor with a sling or a spear made by his foster father and used his eye to destroy the Fomorians.
In the tale of ‘The Gloss Gavlen’, Balor hired the blacksmith, Gobán Saor, to build him a castle so that he could boast to his fellow men. In order to make sure that no-one could either hire the blacksmith again, he attempts to have Gobán Saor killed, who only survived thanks to Ethniu’s warning. In revenge, the blacksmith had Balor’s son captured unless he was released by Balor. When Balor agreed, Saor sent a second blacksmith, Gavidjeen Go to finish his job so that they can take Glas Gaibhnenn as a reward.
However, Balor tricked the pair by not giving them the byre rope, that made sure the cow did not wander off. In order to make sure the cow did not stray, the blacksmiths hired travellers to watch the cow. One traveller, Cian, let the cow wander off and was due to be executed. He escaped with the help of the sea god, Manannán and found Balor’s daughter locked in her tower. The pair had a child, driving Balor insane. Worried, the pair gave the child to Manannán who raised the boy to become Lugh. At the end of the tale, Lugh tossed a dart at Balor as he sailed by the shore, killing him.
In another tale, it was Balor who took the cow from three brothers, killing one, Mac Kineely and two of his children when he learned that Mac Kineely had seduced his daughter, who had given birth to triplets.
Eventually, the surviving grandson grew up to become Balor’s apprentice, who let slip the truth of Mac Kineely’s murder. Enraged, the apprentice took a burning rod from a furnace and killed Balor.
Legends also say that when Balor was decapitated in battle, his eye burned an enormous hole into the ground. The hole then filled up with water, creating the lake of ‘ Loch na Súil.’