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Waterproof Kitchen Apron Online, william-lighting.com, APRON

Сообщение WilliamR » 18 июн 2021, 13:14

The Weekly Flip report! This week, the final 35mm master scans for Flip are arriving. We’ve also been informed that the last two elements we need from the Library of Congress are on deck to be scanned. These are a 35mm soundtrack from Puppy Love and the German titles for Flip in Bulloney, featuring the original title art missing from all other prints we’ve seen. The icing on this week’s cake was two prints lent by Mark Kausler, both with footage not in *any* other print we’ve found. Coo-Coo the Magician has an opening and closing that is missing from all other 16mm and 35mm materials we know of, and The Bully, in a 16mm auto-positive print, has the introduction music. I haven’t heard it yet, but excited to record it later tonight.

As for the price of this thing…we’re getting conflicting reports. Some sources are saying $499, some are saying $399. The highest figure we’ve seen is $599 US Dollars which would make it one of the most expensive Arcade1Ups in existence — we hope Wario64 got it wrong. We do, however, expect this to be on the high end of the price spectrum due to the cost of the license and its four-player controls. All of Arcade1Up’s four-player cabinets tend to cost at least a hundred more than their two-player machines. But a Simpsons Arcade for just two players wouldn’t feel right.APRON

Occasionally, such effects would even spill over into other media involving our cartoon favorites, such as the curiosity of Colpix Records release of “Wake Up, America!” with Yogi Bear (CP 453) – an entirely oddball assembly of skits and songs featuring Yogi, Boo Boo, and other members of the Hanna-Barbera animal gang, pushing the exercise and nutrition kick. What better spokesman for fitness than a fat, dusty old bear! Add to this that none of the regular Hanna-Barbera voice crew appear on the record (all voices are supplied in poor impersonation by Chuck McCann), and you have a really solid recipe for obscurity, accounting for a low-selling album that practically never shows up on record store shelves. Popeye too (at least with original voices Jack Mercer and Mae Questal) would partially bow to the craze in Golden Records LP “Songs About Health, Safety, Friendship, and Manners” (GLP 73). While less biting and better written than the Yogi project, it was another idea that didn’t sell, and virtually never turns up (although in its day, a few of the singles culled from the LP found their way into my original kiddie collection).


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Buster returns to Babs, who is about to dine at an outdoor café. He makes a dramatic appearance, appearing to be pumped up with bulging chest and biceps. “Sufferin’ steroids! What happened to you?”, asks Babs. Buster flexes in he-man poses, and states he is now what girls drool over, just like on the billboard. Babs informs him that that wasn’t the sign she was reacting to, but the billboard below it, advertising a “hunk” of delicious carrot cake. She also notices that Buster is a fraud, pulling a plug on his sweatshirt that deflates his artificial muscles from an inflatable suit. Buster spies that Babs has one of the carrot cakes on the table, and grabs it for himself as some recompense for his futile efforts, with Babs in hot pursuit. “No pain, no gain”, says Buster, as the chase continues down the street for the iris out.

Released in 1998. Restoration Producer/Digital Editor: Randy Thornton. Digital Restoration Executive Producer: Ted Kryczko. Musical Director: George Bruns. Audio Research: Scott McQueen, Glenn Ragland. Restoration/Mastering: John Polito. Art Direction: Luis Fernandez. Design: Janet Wilson, Marcella Wong. Illustrations: Phillippe Harchy Studios. Running Time: 57 minutes.


101 Dalmatians was one of them. For the first time, all the music from the film was heard in the style of a soundtrack/score album, with the assistance of renowned cinematic restoration master, Scott McQueen.

These are very subtle choices, but collectively along with how the beak, neck, and other parts of the character are drawn, they make the difference in the overall eye appeal of the drawings. It makes me think that perhaps two different Disney artists worked on this advertisement. The brochure illustrations were likely done through the Walt Disney Studios Publicity Production Department, which had created a tremendous amount of ancillary character artwork before, during, and after the WWII period. These brochure illustrations are precisely the type of work that group did and could have been knocked out in a day or even an afternoon by seasoned artists in that department.
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