TVSquad

I dropped my remote control last night (actually, one of four that I have on my coffee table for various electronics), and it got me thinking about the remote controls we had when I was a kid. We didn't have one, that is, at least not for the big Magnavox cabinet TV (a real piece of furniture), nor the Sony Trinitron after that (so futuristic because it had separate push buttons for each channel!).

Here's an RCA ad from 1961 for a remote. I'd rather have this than the confusing mess I have now. Love the opening special effects with the glittery star thing. And what the heck is that next to the TV, a hookah?

Those of you who pay attention to my posts specifically know I'm somewhat of an animation-lovin' loser, so you'll understand why I found this especially interesting. Art Lozzi, a background artists for Hanna-Barbera in the '50s and '60s for shows like The Flintstones and Yogi Bear, has contributed some of his wisdom to John "Ren and Stimpy" Kricfalusi's blog about the art and philosophy of background painting in animation. I understand many of you probably wouldn't even find this remotely interesting, so this post is really for those who are more like me and want to "look under the hood" as it were and see how all the little pieces that make up the whole product fit together. One of the great things about animation, in my opinion, is how so many pieces come together to create the finished product, and I would have to turn in my Cartoon Geek credentials if I didn't stop once in awhile to examine some of those pieces a little closer.