As legendary animator and creator of the iconic characters Tex Avery once said, “In a cartoon, you can do anything.”įrederick “Tex” Bean Avery was born in Taylor, Texas, a small town near Austin, and was a descendent of two major far-west figureheads, Judge Roy Bean and Daniel Boone.Īvery’s family would move to Dallas while he was very young, and he would eventually go on to graduate from North Dallas High School in 1926 before becoming a pioneer in animation. Bach.How Legendary Animation Director Tex Avery’s Life In Dallas Helped Create His Iconic Bugs Bunny And Daffy Duck Characters.īugs Bunny and Daffy Duck are from Dallas.ĭoes that sound crazy? It should. It's the key link between Spike Jones and P.D.Q. animation or terrific motion picture scores, don't pass up this disc. In that respect, this disc manages to improve on The Carl Stalling Project, which suffered from an inability to reduce noise and improve dynamic and frequency ranges beyond a certain limit. The tracks taken from the soundtracks of the original cartoons have been cleaned up remarkably, though their origin is certainly clear enough. The production is clear and well-mixed without any digital harshness, and the analog elements (from the original cartoon tracks) are blended nicely. The new recordings are first-rate - clear, well-balanced and astonishingly dynamic. In "Long-Haired Hare," Stalling and company brilliantly cross numerous classical themes, songs, sound effects and dialogue - it's almost as funny on record as it is on film. Still, it's those demented Stalling scores that have the edge - "A Corny Concerto" (with conductor Daugherty and post-production supervisor Robb Wenner providing voices) masterfully demolishes Johann Strauss and Pyotr Il'yich Tchaikovsky with brilliant mixes of music and effects, hewing to the originals only when needed. It also provides some sterling examples of Milt Franklyn, whose position as Stalling's arranger through the years made him a perfect successor as the scores to "Baton Bunny," "The High Note" (an exceptional non-Bugs outing from Chuck Jones) and "What's Opera, Doc?" prove beyond a doubt. It's a wonderful companion to and expansion on The Carl Stalling Project in that it provides fresh renditions of classic scores (with a resulting dynamic and cleanness that's wonderful). The result was a massive hit both on tour and on Broadway.īugs Bunny on Broadway is a shortened version of that adventure into musical madness. Orchestra managed to pull it off, on Broadway, night after night, is a tribute to the people involved, because we're talking about precision timing here - from an orchestra involved in complex scores played at breakneck speed with only a click track in one ear for tempo and no sight of the screen. That he was allowed to carry this idea through was astonishing enough. In 1990, amidst a variety of Bugs Bunny-themed ventures, George Daugherty conceived and pulled off a concert presentation based on the classic Bugs/Warner Bros cartoons that took a cue from classical music, including one of the all-time acknowledged greats, "What's Opera, Doc." Daugherty's idea was simple - take the cartoons, strike new prints, set up sync tracks, and have a live 50-piece orchestra perform the tracks live on-stage.
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