To capture an idea of that power and to narrate its history, we have charted the evolution of animation by considering 100 sequences throughout the medium’s history. Today, vast audiences understand what artists like McLaren were observing: that the invisible holds a marvelous power over us. The characters and intellectual properties it has drawn into existence are as relatable as Daffy Duck and as lucrative as Mickey Mouse. The medium that began to crawl thanks to the live performances of inventor Charles-Émile Reynaud and illusionist Georges Méliès has now matured into a complex and diverse art form - one that has seen new processes and cultural innovations in every decade since its inception. Animated cartoons fool the brain into believing that static images can move characters are “brought to life” by putting pen to paper or finger to a computer’s trackpad. That has largely remained true throughout the medium’s history, both frame by frame and over the course of a two-hour children’s movie. “Therefore, animation is the art of manipulating the invisible interstices between frames.” “What happens between each frame is more important than what happens on each frame,” the prominent experimental animator Norman McLaren (who makes the list with his short Neighbours, below) once explained. If you take an image of an open hand and an image of a fist and project the two in sequence, you’ll convey the illusion of a clench. It’s right there in the name of one of the earliest devices used to project slides: the magic lantern. Of the numerous Archies collections available, this one is recommended as a perfect primer to the Archies' most essential entries.All animation, whether it depicts a whistling mouse, a walking dinosaur, or a leaping superhero, is a kind of magic trick. That leaves the original Archies' Greatest Hits (1970) compilation, which is worth mentioning as it was the only LP to have the Top 40 side "Who's Your Baby." As an example of how far the band had come from the characters on the TV, the track features a very prominent bass vocal that could easily be equated to the likes of Isaac Hayes or Barry White. This anthology contains "Sunshine," "Who's Gonna Love Me," and "Over and Over" from the predominantly forgettable affair. Perhaps the lackluster showing of Jingle Jangle instigated a more mature sound for the Archies on Sunshine. Jingle Jangle (1969) produced the Top Ten title tune, which sits alongside "Everything's Alright," "Justine," "Get On the Line," "Sugar and Spice," and "Archie's Party." If for no other reason, the latter is memorable for the immortal spoken line "Jughead, stop touching my body!" during the instrumental break. These include the mega hit "Sugar, Sugar" as well as "Feelin' So Good," "Melody Hill," "Rock & Roll Music" (not to be confused with the Chuck Berry classic), "Don't Touch My Guitar," "You Little Angel, You," "Bicycles, Roller Skates and You," "Inside Out, Upside Down," "Love Light," and the infectiously fun "Hot Dog," which fans will recall is the name of Archie Andrews' prankster pup. The Archies (1968) was the prefab combo's debut and despite an appearance in the album charts, this package yields only the churning midtempo "Truck Driver," the pseudo-affective and hormone-driven ballad "Seventeen Ain't Young," and the infectious bubblegum frolic "Bang-Shang-A-Lang." Conversely, ten of the 12 cuts from the follow-up, Everything's Archie (1969), are present and accounted for. Among the primary contributors were Ron Dante (vocals/guitar), Andy Kim (vocals), and Jeannie Thomas (vocals), who was replaced by Toni Wine (vocals). Having scored notable success with early Monkees sides, he found another batch of recording studio pros to provide material and audibly animate the Archies. The project was spearheaded by pop music mogul Don Kirshner. come from the first four long-players issued in conjunction with the CBS-TV animated program The Archie Show and the expanded Archie Comedy Hour.
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