He was first published in the Roosevelt Torch, a student newspaper at Roosevelt University, where he studied English after leaving the Art Institute. During his time in the military, his cartoons were published in Pacific Stars and Stripes, where he had originally been assigned to do layouts and paste up. His first book Take Ten, a compilation of his military Take Ten cartoon series, was published by Pacific Stars and Stripes in 1955. He later said his time in college was a waste and would have been better spent traveling around the world meeting people.[8]
After returning to Chicago, Silverstein began submitting cartoons to magazines while also selling hot dogs at Chicago ballparks. His cartoons began appearing in Look, Sports Illustrated and This Week.[9]
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In 1957, Silverstein became one of the leading cartoonists in Playboy, which sent him around the world to create an illustrated travel journal with reports from far-flung locales. During the 1950s and 1960s, he produced 23 installments called "Shel Silverstein Visits..." as a feature for Playboy. Employing a sketchbook format with typewriter-styled captions, he documented his own experiences at such locations as a New Jersey naturist community, the Chicago White Sox training camp, San Francisco's Haight-Ashbury, Fire Island, Mexico, London, Paris, Spain and Africa. In a Swiss village, he drew himself complaining, "I'll give them 15 more minutes, and if nobody yodels, I'm going back to the hotel." These illustrated travel essays were collected by the publisher Fireside in Playboy's Silverstein Around the World, published in 2007 with a foreword by Hugh Hefner and an introduction by music journalist Mitch Myers.[10]
A cartoon he made during the 1950s was featured on the cover of his next cartoon collection, titled Now Here's My Plan: A Book of Futilities, which was published by Simon & Schuster in 1960. Silverstein biographer Lisa Rogak wrote:
The cartoon on the cover that provides the book's title would turn out to be one of his most famous and often-cited cartoons. In the cartoon, two prisoners are chained to the wall of a prison cell. Both their hands and feet are shackled. One says to the other, "Now here's my plan." Silverstein was both fascinated and distressed by the amount of analysis and commentary that almost immediately began to swirl around the cartoon. "A lot of people said it was a very pessimistic cartoon, which I don't think it is at all," he said. "There's a lot of hope even in a hopeless situation. They analyze it and question it. I did this cartoon because I had an idea about a funny situation about two guys."[2]
Silverstein's cartoons appeared in issues of Playboy from 1957 through the mid-1970s, and one of his Playboy features was expanded into Uncle Shelby's ABZ Book (Simon & Schuster, 1961), his first book of new, original material for adults.
In January 1959, Look, Charlie: A Short History of the Pratfall was a chaotic off-Broadway comedy staged by Silverstein, Jean Shepherd and Herb Gardner at New York's Orpheum Theatre on Second Avenue in the Lower East Side.[19] Silverstein went on to write more than 100 one-act plays. The Lady or the Tiger Show (1981) and Remember Crazy Zelda? (1984) were produced in New York.[20] The Devil and Billy Markham, published in Playboy in 1979, was later adapted into a solo one-act play that debuted on a double bill with Mamet's Bobby Gould in Hell (1989) with Dr. Hook vocalist Dennis Locorriere narrating.[21] In 1990, Silverstein's one-act modernized version of Hamlet starred Melvin Van Peebles playing all the roles.[22] Karen Kohlhaas directed An Adult Evening of Shel Silverstein, produced by New York's Atlantic Theater Company in September 2001 with a variety of short sketches:[23]
In a park in England, a young girl named Alice with her cat, Dinah, listens distractedly to her sister's history lesson, and begins daydreaming of a nonsensical world. She spots a passing White Rabbit in a waistcoat, who panics of being late. Alice follows him into a burrow and plummets down a deep rabbit hole. Upon landing in a place called Wonderland, she finds herself facing a tiny door, whose handle advises drinking from a bottle on a nearby table. She shrinks to an appropriate height, but has forgotten the key on the table. She then eats a cookie that causes her to grow excessively. Exasperated by these changes of state, she begins to cry and floods the room with her tears. She takes another sip from the bottle to shrink again, and rides the empty bottle through the keyhole. As Alice continues to follow the Rabbit after encountering a "Caucus Race", she encounters numerous characters, including Tweedledum and Tweedledee, who recount the tale of "The Walrus and the Carpenter". Alice tracks the Rabbit to his house; he mistakes her for his housemaid, "Mary Ann", and sends her inside to retrieve his gloves. While searching for the gloves, Alice finds and eats another cookie and grows giant, getting stuck in the house. Thinking her a monster, the Rabbit asks the Dodo to help expel her. When the Dodo decides to burn the house down, Alice escapes by eating a carrot from the Rabbit's garden, which causes her to shrink to 3 inches tall.
In 1923, he was a 21-year-old aspiring filmmaker working at the Laugh-O-Gram Studio in Kansas City, making the unsuccessful short cartoon series by the name of Newman Laugh-O-Grams. The last of Newman Laugh-O-Grams was called Alice's Wonderland, which was loosely inspired by the Alice books. The short featured a live-action girl (Virginia Davis) interacting with an animated world. Faced with business problems, however, the Laugh-O-Gram Studio went bankrupt in July 1923, and the film was never released to the general public. However, Disney left for Hollywood and used the film to show to potential distributors. Margaret J. Winkler of Winkler Pictures agreed to distribute the Alice Comedies, and Disney partnered with his older brother Roy O. Disney and re-hired Kansas City co-workers including Ub Iwerks, Rudolph Ising, Friz Freleng, Carman Maxwell and Hugh Harman to form the Disney Brothers Studios, which was later re-branded Walt Disney Productions.[7] The series began in 1924 before being retired in 1927.
In 1933, Disney considered making a feature-length animated-and-live-action version of Alice starring Mary Pickford.[6][8] However, these plans were eventually scrapped in favor of Snow White and the Seven Dwarfs, mainly because Disney was put off by Paramount's 1933 live-action adaptation Alice in Wonderland.[6] However, Disney did not completely abandon the idea of adapting Alice, and in 1936 he made the Mickey Mouse cartoon Thru the Mirror.
In 1938, after the enormous success of Snow White, Disney bought the film rights of Alice in Wonderland with Sir John Tenniel's illustrations,[9] and officially registered the title with the Motion Picture Association of America. He then hired storyboard artist Al Perkins and art director David S. Hall to develop the story and concept art for the film.[6] A story reel was completed in 1939, but Disney was not pleased; he felt that Hall's drawings resembled Tenniel's drawings too closely, making them too difficult to animate, and that the overall tone of Perkins' script was too grotesque and dark.[6] Realizing the amount of work needed for Alice in Wonderland, and with the economic devastation of World War II and the production demands of Pinocchio, Fantasia, and Bambi, Disney shelved production on Alice in Wonderland shortly after the screening.[8]
In fall 1945, shortly after the war ended, Disney revived Alice in Wonderland and hired British author Aldous Huxley to re-write the script. Huxley devised a story in which Lewis Carroll and Alice Liddell (the inspiration for Alice) were misunderstood and persecuted following the book's publication. In Huxley's story, stage actress Ellen Terry was sympathetic to both Carroll and Liddell, and Queen Victoria served as the deus ex machina, validating Carroll due to her appreciation for the book.[10] Disney considered child actress Margaret O'Brien for the title role.[11] However, he felt that Huxley's version was too literal an adaptation of Carroll's book.[8] Background artist Mary Blair submitted some concept drawings for Alice in Wonderland. Blair's paintings moved away from Tenniel's detailed illustrations by taking a modernist stance, using bold and unreal colors. Walt liked Blair's designs, and the script was re-written to focus on comedy, music, and the whimsical side of Carroll's books.[8]
Through various drafts of the script, many sequences that were present in Carroll's book drifted in and out of the story. However, Disney insisted that the scenes themselves keep close to those in the novel since most of its humor is in the writing.[6]
There was no soundtrack album available when the film was released in 1951. RCA Victor released a story album and single records with Kathryn Beaumont and several cast members that re-created the story, but it was not the soundtrack. in 1944, Decca Records had released a Ginger Rogers dramatization of Lewis Carroll's book with Disney cover art (perhaps tying in with earlier discussions of her being cast as a live-action Disney "Alice"),[24] Decca did indeed license the rights to release the 1951 Alice soundtrack from Disney, but later decided against it and never produced one. When Disney started its own record company, Disneyland Records, in Spring 1956, it was found to be economically unfeasible at the time to take on the fees and other costs to produce a soundtrack album.[25]
In 1957, Tutti Camarata arranged and conducted an elaborate original production of the Alice score with Darlene Gillespie, who had shown great promise among the Mickey Mouse Club cast as a singer. Camarata assembled a new orchestra and chorus (possibly with the cooperation of Norman Luboff, as Betty Mulliner (Luboff) and choir member Thurl Ravenscroft can be heard) in the Capitol studios in Hollywood. The resulting album became one of the most influential and acclaimed studio versions of a score, garnering praise from within the industry as well as the public.[26] The original issue (WDL-4025) depicting Alice seated in a tree with characters beneath her is highly collectible but the album was so popular it was reissued in 1959, 1963 and 1968 with different covers, as well as story albums with books and single records, all featuring music from this album, as well in translated versions of the Camarata Alice music for international recordings. 2ff7e9595c
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