*rocknroll

Ziggy played guitar
Jamming good with Weird and Gilly
And the Spiders From Mars
He played it left hand
But made it too far
Became the special man
Then we were Ziggy's band

Ziggy really sang
Screwed up eyes and screwed down hair-do
Like some cat from Japan
He could lick 'em by smiling
He could leave them to hang
Came on so loaded man
Well hung and snow-white tan

So where were the Spiders
While the flies tried to break our balls
Just the beer light to guide us
So we bitch about his fans and should we crush his sweet hands

Ziggy played for time
Jiving us that we were voodoo
But the kids were just crass
He was the nazz, with God-given ass
He took it all too far
But boy, could he play guitar

Making love with his ego
Ziggy sucked up into his mind
Like a leper messiah
When the kids had killed the man
We had to break up the band

Now Ziggy played guitar

Damn, Nord's digging up skeletons. Down fella!

I'm sure you can find TONS of examples. Remember when Choggie posted that vintage cartoon Black Coal? (black version of Snow White) Folks went nuts.

I've always seen Videosift as a collaboration. The content here reflects a community. When a video is posted that polarizes us and puts us at odds, then it should be questioned.

>> ^fojlz:
Eh, even if what she was doing can be called "art" in specific settings, it's still a cheap ploy in this context. She's using her feminine wiles as a replacement for originality and talent (and sadly, it worked in this video). I say talent because personally, I don't think the way she was doing it was particularly challenging or artistic. Maybe the dance would have gained more merit with me if she'd stripped in a way that was interesting to those who are not heterosexual males (or homosexual females). I wasn't particularly entertained or excited.


After giving this another viewing, I agree that this routine isn't particularly challenging or original. She does execute it exceptionally well, however -- All the movements are smooth as silk and timed well. Honestly, some people find it hard enough to operate clothing, even in the absence of a soundtrack. I think her second routine was both more original and a bit more difficult, though it's appeal is also questionable (unless you're David Hasselhoff).

The funniest is Disney. They take a property that has entered public domain, develop an animated film around it and suddenly copying Snow White is violating some copyright law.

1. What's Opera, Doc? (Warner Bros./1957)
2. Duck Amuck (Warner Bros./1953)
3. The Band Concert (Disney/1935)
4. Duck Dodgers in the 24 1/2th Century (Warner Bros./1953)
5. One Froggy Evening (Warner Bros./1956)
6. Gertie the Dinosaur (Winsor McCay/1914)
7. Red Hot Riding Hood (MGM/1943)
8. Porky in Wackyland (Warner Bros./1938)
9. Gerald McBoing Boing (UPA]/1951)
10. King-Size Canary (MGM/1947)
11. Three Little Pigs (Disney/1933)
12. Rabbit of Seville (Warner Bros./1950)
13. Steamboat Willie (Disney/1928)
14. The Old Mill (Disney/1937)
15. Bad Luck Blackie (MGM/1949)
16. The Great Piggy Bank Robbery (Warner Bros./1946)
17. Popeye the Sailor Meets Sindbad the Sailor (Fleischer/1936)
18. The Skeleton Dance (Disney/1929)
19. Snow White (1933 cartoon) (Fleischer/1933)
20. Minnie the Moocher (Fleischer/1932)
21. Coal Black and de Sebben Dwarfs (Warner Bros./1943)
22. Der Fuehrer's Face (Disney/1943)
23. Little Rural Riding Hood (MGM/1949)
24. The Tell-Tale Heart (UPA/1953)
25. The Big Snit (National Film Board of Canada/1985)
26. Brave Little Tailor (Disney/1938)
27. Clock Cleaners (Disney/1937)
28. Northwest Hounded Police (MGM/1946)
29. Toot, Whistle, Plunk and Boom (Disney/1953)
30. Rabbit Seasoning (Warner Bros./1952)
31. The Scarlet Pumpernickel (Warner Bros./1950)
32. The Cat Came Back (National Film Board Of Canada/1988)
33. Superman (Fleischer/1941)
34. You Ought To Be in Pictures (Warner Bros./1940)
35. Ali Baba Bunny (Warner Bros./1957)
36. Feed the Kitty (Warner Bros./1952)
37. Bimbo's Initiation (Fleischer/1931)
38. Bambi Meets Godzilla (International Rocketship/1969)
39. Little Red Riding Rabbit (Warner Bros./1941)
40. Peace on Earth (MGM/1939)
41. Rooty Toot Toot (UPA/1952)
42. The Cat Concerto (MGM/1947)
43. The Barber of Seville (Lantz/1944)
44. The Man Who Planted Trees (National Film Board Of Canada/1987)
45. Book Revue (Warner Bros./1946)
46. Quasi at the Quackadero (Cruikshank/1975)
47. Corny Concerto (Warner Bros./1943)
48. Unicorn in the Garden (UPA/1953)
49. The Dover Boys (Warner Bros./1942)
50. Felix in Hollywood (Sullivan/1923)

Did you know that the recovering Tony Snow (white house press sec) is a jazz floutist

Again rick you are making a lot of assumptions about things he may have/should have experienced and that should have helped him see the light. He was born and grew up in a time that was very very different and I don't think its fair to say you or me know the facts that surround the making of this video. I can however read and find out as much as I can about the why the episode was created and make a judgement which you may or may not agree with.

A quote from this bob clampett site:

Coal Black is one of the clearest explorations and illustrations of this break with the Disney tradition. Rather than ignore the dominance of Disney's feature production it is a very deft, energetic and controversial parody of Snow White that illustrates the brevity, visual rhythm and rapid-fire pacing of the studio's best work (15). Nevertheless, it is probably more accurately viewed as a riff on rather than a parody of Disney's film. Unlike much of the Disney studio's work, Coal Black is a raunchy, contemporary, extreme and shockingly racist film (the racism of many Disney films is often less up-front and more cloying). It updates the Disney story to a contemporary war-time setting in which Queenie calls in Murder Inc. “to black out So White”, and to stop her from stealing the zoot-suited Prince Chawmin'. This is a cartoon widely regarded as a masterpiece in absentia, a seldom seen product of the sexual mores and ethnic stereotyping of its time. Nevertheless, many writers understandably go out of their way to both underline the ideological problems of the film – especially for contemporary audiences – and its extraordinary energy and vibrant style as a truly animated cartoon. As Terry Lindvall and Ben Fraser suggest:

Coal Black's brazenness earned the film much of its notoriety, but even as shocking as it is for its racial content, the aesthetic and musical brilliance, the unabashed raunchiness, and the pure cartooniness salvage it as a masterpiece for most audiences, even some black audiences (16).

part 2 below

Hey there ™Coffeehaus?! Ya think theres' a place in yer coffee drinkers aquarium, for viddies, like the one I posted with the jiggy snow-white from Warner Brothers vault of secrecy, wheres folks could go to discuss, what pisses the weak of the sift off enough to wanna ban something available to the masses through available media off, that some twisted/lucid/doomed/visionary/insane/whomever could discuss, without it being BLACK-listed, and otherwise not available on a progresive, visionary,doomed,insane,twisted,lucid website???
Answer me this if you dare?

Noted the first time and I'll post it here again:

"Clampett intended Coal Black as both a parody of Snow White and a dedication to the all-black jazz musical films popular in the early 1940s" [wikipedia]

As mentioned previously in this thread, a clip will almost always pass the 'racism test' if presented as a parody. It seems alot of folks haven't been able to get past the blatant ugliness to see the original intent...

I like the Snow White motif...

"Clampett intended Coal Black as both a parody of Snow White and a dedication to the all-black jazz musical films popular in the early 1940s"

"it is one of the most controversial cartoons in the classic Warner Bros. library, has been rarely seen on television, and has never been officially released on home video. However, it is often named as one of the best cartoons ever made, and is considered one of Clampett's masterpieces."

[Wikipedia]