If there’s one thing I can definitely say thank you to Fallout for it’s the love of music I would not have otherwise listened to.
I put on some Fallout music because my nan was visiting and seemed a bit bored while the football was on. She started to sing quietly, gratefully, thinking I’d just put it on for her sake to entertain her.
When I started to sing along enthusiastically, belting out Dean Martin with her, her face absolutely lit up in surprise and delight. We spent the rest of the evening listening to songs together, talking about our favourite artists and drowning out the football with singing. She was even happier when I produced my Inkspots vinyl.
Had some trouble scanning this one because my sketchbook is too big, but here it is after…well, trying my best! A Muppet and Moomin cross-over with Kermit and Snufkin in homage to two of my favorite artists and biggest inspirations, Jim Henson and Tove Jansson. I’m really looking forward to getting into more of Jansson’s work in the coming years, and I hope this is something that appeals to fans of both!
“Bosko, the Talk-Ink Kid was a short film produced to sell a series of Bosko cartoons. The film was never released to theaters, and therefore not seen by a wide audience until 2000.
Rudolf Ising is thinking of ideas for a new character, until he draws a blackfaced person, who comes to life. The new character introduces himself as Bosko, and he speaks, sings, dances and plays the piano before Ising sucks him into his ink pen and pours him back into the inkwell. Bosko pops out of the bottle and promises to return.
In 1927, Harman and Ising were still working for the Walt Disney Studios on the series Alice Comedies. Hugh Harman created Bosko in 1927 to capitalize on the new ‘talkie.’ Harman began thinking about making a sound cartoon with Bosko in 1927, before he even left Walt Disney. Hugh Harman made drawings of the new character and registered it with the copyright office in 1928. The character was registered as a ‘Negro boy’ under the name of Bosko.
After leaving Walt Disney in the spring of 1928, Harman and Ising went to work for Charles Mintz on Universal’s second-season Oswald the Lucky Rabbit cartoons. April 1929 found them moving on again, leaving Universal to market their new cartoon character. In May 1929, they produced a short pilot cartoon, Bosko, the Talk-Ink Kid, that showcased their ability to animate soundtrack-synchronized speech and dancing. Bosko became the star vehicle for the studio’s new Looney Tunes cartoon series.
This short is a landmark in animation history as being the first cartoon to predominantly feature synchronized speech, though Fleischer Studios’ Song Car-Tune ‘My Old Kentucky Home’ was the first cartoon to contain animated dialogue a few years earlier. This cartoon set Harman and Ising ‘apart from early Disney sound cartoons because it emphasized not music but dialogue.’
In his book, Of Mice and Magic, Leonard Maltin states that this early version of Bosko, ‘was in fact a cartoonized version of a young black boy… he spoke in a Southern Negro dialect… in subsequent films this characterization was eschewed, or perhaps forgotten. This could be called sloppiness on the part of Harman and Ising, but it also indicates the uncertain nature of the character itself.’
Although Harman and Ising based Bosko’s looks on Felix the Cat, Bosko got his personality from the blackface characters of the minstreland vaudeville shows popular in the 1930s. In keeping with the stereotypes of the minstrel shows, Bosko is a natural at singing, dancing, and playing any instrument he encounters. In early cartoons, Bosko (voiced by Carman Maxwell) even speaks in an exaggerated version of black speech (however, this was only in the first cartoon. All later cartoons would give him a falsetto voice). Despite the parallels between Bosko and the blackface performers, Ising in later years would deny that the character was ever supposed to be a black caricature, and rather claim he was supposed to be ‘an inkspot kind of thing.’
According to Terry Lindvall and Ben Fraser, Bosko and Honey ‘were the most balanced portrayals of blacks in cartoons to that point.’
The short was considered lost for many decades, with only the film’s Vitaphone soundtrack still in existence.”
image description: two small tuxedo (black and white) kittens lying on a bed. one of them has his eyes open and is looking at the camera, the other one is lying on his side with his eyes closed.
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@pangur-and-grim these are Supervisor Harvey Milk (eyes open) and Silva Inkspot (eyes closed). they’re part Oriental Shorthair and when i saw them at the shelter, i immediately thought they looked like pangur (because of their long faces).
they’re absolute darlings and will curl up on your lap together and start purring loudly if you let them.
they also have very pangur-like wails when they are hungry or want attention. mostly when they are hungry. they get fed at six in the morning and six in the evening but anytime is food time for them. noon? ten am? three pm? it’s kitty food time.
give the weasel, the mama cat, and the soft boy kisses for me!!
I can't get over Hades... he's a bad guy, no argument there, but...
I mean the guy wears a suit, a cravat, he drives a kick a$$ car and he listens to InkSpots. Far more thoughtful, gentlemanly and devoted than Hook is towards Emma. I mean, he is a villain for crying out loud, but he treats Zelena like a queen.
This mix is meant to create what I felt was the mood of the pre-war era that Steve Rogers and Bucky Barnes lived in during the first Captain America film.
Son House - Grinnin’ In You Face // Sister Rosetta Tharpe - That’s All // Mississippi Rev. Gary Davis - There’s Destruction In This Land // Sister Rosetta Tharpe - My Journey To The Sky // John Hurt - You Are My Sunshine // Lane Hardin - Hard Time Blues // The Ink Spots - Maybe // John Hurt - Salty Dog Blues // Skip James - Hard Time Killin’ Floor Blues // The Inkspots - I Don’t Want To Set The World On Fire // Mae West - I’m No Angel