So #toonami, the programming block i co-created and have lead for many years now, turns 25 years old today. It’s an anniversary I never even contemplated we would reach, frankly. TV blocks are not meant to last this long, and they almost never do.
I’m not normally very self-reflective about my work. I tend to just want to keep moving on to whatever the next project or idea is, I’m a bit restless that way. It’s why I’ve been involved in so many different creative endeavors and projects over the years.
But 25 years… that bears thinking about and taking a moment to appreciate, and take stock. So that’s what I’ll do here, if you’ll indulge me.
If I think about what we WANTED out of Toonami back then, it was mostly to create an environment where kids like I was- kids in broken or abusive or just neglectful homes- had a place to hang every day that felt welcoming. A place where they weren’t talked down to.
We always wanted TOM (and Sara, and Moltar) to feel like the cool older sibling who was putting you on to the good shit. For US, that was great anime and action, music, videogames, interesting people with fun jobs, and other things. We wanted to inspire kids if we could.
And even when we went off the air originally, we all made our peace with it. Even then, we knew 11 years was an incredible run and we had given our all. We left it all out on the floor, for sure.
But then a miracle happened- a combination of @stupidgill and I scheming, @richiebranson inspiring people with a great song, and most importantly Toonami fans expressing their love for our work. And a new Toonami was born, one for those kids who had grown up, and new generation.
And here we still are. Toonami has brought me so many opportunities, from all of the music I’ve been a part of- DOOM, Flylo, RTJ, all of it- to making anime with some of my favorite creators whose work has inspired me. I’m doing an effin LOTR movie, and it’s because of Toonami!
And when I say “it’s because of Toonami” I mean this- it’s because of the amazing work of so many talented co-workers, performers and collaborators over the years. Particularly my partner in crime @stupidgill. It’s also, most importantly, because of Toonami FANS.
We have always tried to engage with our fans directly and respect them like we did when they were kids. We try to be transparent and open to suggestion and change. We have our ups and downs, as project that’s 25 years old does. But we’re committed to tryin to be better if we can.
So really I just want to say, thank you to anyone who has watched, whether it was for a minute or 25 years. Thank you to you folks who trend #toonami every week. YOU made this happen just as much as we did. Whatever influence and impact we have, or had, is because of you.
Til the sun shines on a world without Toonami (again), we remain the FIRST. And STILL the best.
- oh and #toonami fans… keep your eyes peeled today, I think it’s fair to say you’ll have some stuff to talk about! 😏
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Imo what he's saying is pretty harmless- and really the entire movie is a thought experiment about this. "What if this seemingly wonderful person who was murdered horribly was instead allowed to go on living" seems like a pretty nice sentiment to me!
The book spends even more time with her & paints her as smarter & more thoughtful than pretty much everyone else in the story. Whether or not he did change the perception of Sharon Tate, I think it was worthwhile to try- and okay to feel proud that he did. Shit, no one else had!
So much of the utterly garbage discourse around OUATIH has to do with people not understanding how prevalent that Mason murders were in media at the time. How much "hippies" were a real cultural force for good and for ill. How sensationalized Sharon Tate's murder was.
Here’s a condensed version of a video we made for Chrome Children, our Stones Throw/AS comp. We filmed a live show at SXSW where Madvillain played. I was on stage filming the performance along with my friends.
DOOM was late for the show. I was super stressed because we hadn’t heard from him and Madvillain were about to go on. He arrived, no joke, five minutes before they needed to play. I handed him his check, he rolled onstage, and killed the show. Legend.
The full vireo was 40 mins long and only available as a DVD extra disc that came with the deluxe edition of the Chrome Children CD.
This post is from DOOM’s wife’s Jasmine. If Jas wrote it it’s legit.
I’ll tell some DOOM stories a bit later, for now I need to process... Dude made me laugh and made me furious, almost got me fired and I STILL loved him. Rest in Power to one of the greatest to ever do it.
Okay here’s a DOOM story or two. Daniel Dumile aka MF DOOM was someone I first worked with on the DangerDOOM project. During the making of the album, I would sometimes pick him up to take him to the studio to lay vocals.
Before picking him up I was told “bring him beer when you come.” I was picking him up at 9am. I brought beer and the second I entered his apartment, he started drinking and in fact by 10am *I too* was drinking, sitting around with him as he read some rhymes from his notebook.
lol guess we won’t be getting Caribou to play the Adult Swim Fest any time soon. I respect his stance though. It’s a slippery slope, for sure. My feeling has always been to take the money from the rich and give it to the artists who need it, personally. But that’s just me.
As someone who is in the position to pay artists for their work, I will occasionally run into someone who just flies get feel comfortable taking corporate money for any reason. And I respect that courage and commitment.
For my part, I feel like part of my life’s work has been supporting art by exposing and promoting the work of artists whose work means so much to me, and of course by paying them what they deserve, so that they can keep creating.