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Fritz the Cat (film)

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Fritz the Cat is a 1972 American adult animated black comedy film written and directed by Ralph Bakshi, based on the comic strip by Robert Crumb and starring Skip Hinnant. The film focuses on Fritz (Hinnant), a glib, womanizing and fraudulent cat in an anthropomorphic animal version of New York City during the mid-to-late 1960s. Fritz decides on a whim to drop out of college, interacts with inner city African American crows, unintentionally starts a race riot, and becomes a leftist revolutionary. The film is a satire focusing on American college life of the era, race relations, the free love movement and serves as a criticism of the countercultural political revolution and dishonest political activists.

Bakshi's feature film debut, the film had a troubled production history, as Crumb, who is politically left-wing, had disagreements with the filmmakers over the film's political content, which he saw as being critical of the political left.[4][5][6] Produced on a budget of $700,000,[7] the film was intended by Bakshi to broaden the animation market so that it would be seen as being a medium that could tell more dramatic or satirical storylines with larger scopes, dealing with more mature and diverse themes, as animation, which was initially intended largely for adults, was seen predominantly as a children's medium at that time period. Bakshi also wanted to establish an independent alternative to the films produced by Walt Disney Animation Studios, which dominated the animation market due to a lack of independent competition.

The intention of featuring profanity, sex and drug use, particularly cannabis, provoked criticism from more conservative members of the animation industry, who accused Bakshi of attempting to produce a pornographic animated film, as the concept of adult animation was not widely understood at the time. The Motion Picture Association of America gave the film an X rating, making it the first American animated film to receive the rating, which was then predominantly associated with more arthouse films. The film was highly successful, grossing over $90 million worldwide, and also earned significant critical acclaim for its satire, social commentary and animation innovations, although it also attracted some negative reviews accusing it of stereotyping and having an unfocused plot, and criticizing its depiction of profanity, sex and drug use in the context of an animated film. The film's use of satire and mature themes is seen as paving the way for future animated works for adults, including The Simpsons[8], South Park[8][9] and Family Guy. A sequel, The Nine Lives of Fritz the Cat (1974), was produced without Crumb's or Bakshi's involvement.

Plot[]

In the 1960s, at Washington Square Park in Manhattan, hippies have gathered with guitars to sing protest songs. Fritz, a cat, and his buddies show up in an attempt to meet girls. When a trio of attractive women walk by, Fritz and his friends exhaust themselves trying to get their attention, but find that the girls are more interested in the crow standing a few feet away. The girls attempt to flirt with the crow, making unintentionally condescending remarks about black people, while Fritz looks on in annoyance.

Suddenly, the crow rebukes the girls with a snide remark, indicates that he is gay and walks away. Fritz invites the girls to "seek the truth", bringing them up to his friend's apartment, where a wild party is taking place. Since the other rooms are crowded, Fritz drags the girls into the bathroom and the four of them have group sex in the bathtub.

Meanwhile, two bumbling police officers (portrayed as pigs) arrive to raid the party. As they walk up the stairs, one of the party-goers finds Fritz and the girls in the bath tub. Several others jump in, pushing Fritz to the side where he takes solace in marijuana. The two officers break into the apartment, but find that it is empty because everyone has moved into the bathroom. Fritz takes refuge in the toilet when one of the pigs enters the bathroom and begins to beat up the partygoers.

As the pig becomes exhausted, a very stoned Fritz jumps out, grabs the pig's gun, and shoots the toilet, causing the water main to break and flooding everybody out of the apartment. The pigs chase Fritz down the street into a synagogue. Fritz manages to escape when the congregation gets up to celebrate the United States' decision to send more weapons into Israel.

Fritz makes it back to his dormitory, where his roommates are too busy studying to pay attention to him. He decides to ditch his bore of a life and sets all of his notes and books on fire. The fire spreads throughout the dorm, finally setting the entire building ablaze. In a bar in Harlem, Fritz meets Duke the Crow at a pool table. After narrowly avoiding getting into a fight with the bartender, Duke invites Fritz to "bug out", and they steal a car, which Fritz drives off a bridge, leading Duke to save his life by grabbing onto a railing.

The two arrive at the apartment of a drug dealer named Bertha, whose cannabis joints increase Fritz's libido. While having sex with Bertha, he comes to a realization that he "must tell the people about the revolution!". He runs off into the city street and incites a riot, during which Duke is shot and killed.

Fritz hides in an alley where his older fox girlfriend, Winston Schwartz, finds him and drags him on a road trip to San Francisco. When their car runs out of gas in the middle of the desert, he decides to abandon her. He later meets up with Blue, a methamphetamine-addicted Nazi rabbit biker. Along with Blue's horse girlfriend, Harriet, they take a ride to an underground hide-out, where several other revolutionaries tell Fritz of their plan to blow up a power station.

When Harriet tries to get Blue to leave with her to go to a Chinese restaurant, he hits her several times and ties her down with a chain. When Fritz objects to their treatment of her, he is hit in the face with a candle. Blue and the other revolutionaries then gang-rape Harriet. After setting the dynamite at the power plant, Fritz suddenly has a change of heart, and unsuccessfully attempts to remove it before being caught in the explosion.

At a Los Angeles hospital, Harriet (disguised as a nun) and the girls from the New York park come to comfort him in what they believe to be his last moments. Fritz, after reciting the speech he used to pick up the girls from New York, suddenly becomes revitalized and has sex with the trio of girls while Harriet watches in astonishment.

Cast[]

  • Skip Hinnant as Fritz the Cat
  • Rosetta LeNoire as Big Bertha / Additional voices
  • John McCurry as Blue / John
  • Judy Engles as Winston Schwartz / Lizard Leader
  • Phil Seuling as Pig Cop #2 / Additional voices
  • Ralph Bakshi (uncredited) as Pig Cop #1 / Narrator
  • Mary Dean (uncredited) as Sorority Girls / Harriet
  • Charles Spidar (uncredited) as Bar Patron / Duke the Crow

Background[]

Robert Crumb was still a teenager when he created the character Fritz the Cat for self-published comics magazines he made with his older brother Charles. The character first appeared to a wider public in Harvey Kurtzman's humor magazine Help! in 1965.Stub The strips place anthropomorphic characters—normally associated with children's comics—in stories with drugs, sex, and other adult-oriented content.Stub Crumb left his wife in 1967 and moved to San Francisco, where he took part in the counterculture and indulged in drugs such as LSD. He had countercultural strips published in underground periodicalsStub and in 1968 published the first issue of Zap Comix. Crumb's cartoons became progressively more transgressive, sexually explicit, and violent,Stub and Crumb became the center of the burgeoning underground comix movement.Stub Fritz became one of Crumb's best-known creations, particularly outside the counterculture.Stub

[The idea of] grown men sitting in cubicles drawing butterflies floating over a field of flowers, while American planes are dropping bombs in Vietnam and kids are marching in the streets, is ludicrous.

—Ralph Bakshi[10]

Ralph Bakshi majored in cartooning at the High School of Art and Design. He learned his trade at the Terrytoons studio in New York City, where he spent ten years animating characters such as Mighty Mouse, Heckle and Jeckle, and Deputy Dawg. At the age of 29, Bakshi was hired to head the animation division of Paramount Pictures as both writer and director, where he produced four experimental short films before the studio closed in 1967.[11] With producer Steve Krantz, Bakshi founded his own studio, Bakshi Productions. In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica.[12][13] However, Bakshi was uninterested in the kind of animation he was producing, and wanted to produce something personal.[10] Bakshi soon developed Heavy Traffic, a tale of inner-city street life. However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.[12]

While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of R. Crumb's Fritz the Cat (1969). Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.[14] Bakshi was interested in directing the film because he felt that Crumb's work was the closest to his own.[15] Krantz arranged a meeting with Crumb, during which Bakshi showed Crumb drawings that had been created as the result of Bakshi attempting to learn Crumb's style to prove that he could translate the look of Crumb's artwork to animation.[12] Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks as a reference.[14]

As Krantz began to prepare the paperwork, preparation began on a pitch presentation for potential studios, including a poster-sized painted cel setup featuring the strip's cast against a traced photo background, as Bakshi intended the film to appear.[14] In spite of Crumb's enthusiasm, he was unsure about the film's production, and refused to sign the contract.[14] Cartoonist Vaughn Bodé warned Bakshi against working with Crumb, describing him as "slick".[14] Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life".[14] Krantz sent Bakshi to San Francisco, where Bakshi stayed with Crumb and his wife Dana in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain,[16] but Dana had power of attorney and signed the contract. Crumb received US$50,000, which was delivered throughout different phases of the production, in addition to ten percent of Krantz's take.[16]

Rating[]

Fritz received an X from the Motion Picture Association of America, or as the NC-17 rating. the first American animated film to receive such rating. However, at the time, the rating was associated with more arthouse fare, and since the recently released Melvin Van Peebles film Sweet Sweetback's Baadasssss Song, which was released through Cinemation, had received both an X rating and considerable success, the distributor hoped that Fritz the Cat would be even more profitable.[17] Producer Krantz stated that the film lost playdates due to the rating, and 30 American newspapers rejected display advertisements for it or refused to give it editorial publicity.[11] The film's limited screenings led Cinemation to exploit the film's content in its promotion of the film, advertising it as containing "90 minutes of violence, excitement, and SEX  ... he's X-rated and animated!"[17] According to Ralph Bakshi, "We almost didn't deliver the picture, because of the exploitation of it."[10]

Cinemation's advertising style and the film's rating led many to believe that Fritz the Cat was a pornographic film. When it was introduced as such at a showing at the University of Southern California, Bakshi stated firmly, "Fritz the Cat is not pornographic."[10] In May 1972, Variety reported that Krantz had appealed the X rating, saying "Animals having sex isn't pornography." The MPAA refused to hear the appeal.[11] The misconceptions about the film's content were eventually cleared up when it received praise from Rolling Stone and The New York Times, and the film was accepted into the 1972 Cannes Film Festival.[17] Bakshi later stated, "Now they do as much on The Simpsons as I got an X rating for Fritz the Cat."[18]

Before the film's release, American distributors attempted to cash in on the publicity garnered from the rating by rushing out dubbed versions of two other adult animated films from Japan, both of which featured an X rating in their advertising material: Senya ichiya monogatari and Kureopatora, re-titled One Thousand and One Arabian Nights and Cleopatra: Queen of Sex. However, neither film was actually submitted to the MPAA, and it is not likely that either feature would have received an X rating.[10] The film Down and Dirty Duck was promoted with an X rating, but likewise had not been submitted to the MPAA.[19] The French-Belgian animated film Tarzoon: Shame of the Jungle initially was released with an X rating in a subtitled version, but a dubbed version released in 1979 received an R rating.[20]

Reception[]

Initial screenings[]

Fritz the Cat opened on April 12, 1972, in Hollywood and Washington, D.C.[5] Although the film only had a limited release, it went on to become a worldwide hit.[21] Against its $700,000 budget, it grossed $25 million in the United States and over $90 million worldwide,[22][23] and was the most successful independent animated feature of all time.[12] The film earned $4.7 million in theater rentals in North America.[24]

In Michael Barrier's 1972 article on its production, Bakshi gives accounts of two screenings of the film. Of the reactions to the film by audiences at a preview screening in Los Angeles, Bakshi stated, "They forget it's animation. They treat it like a film.  ... This is the real thing, to get people to take animation seriously." Bakshi was also present at a showing of the film at the Museum of Modern Art and remembers "Some guy asked me why I was against the revolution. The point is, animation was making people get up off their asses and get mad."[10]

The film also sparked negative reactions because of its content. "A lot of people got freaked out", says Bakshi. "The people in charge of the power structure, the people in charge of magazines and the people going to work in the morning who loved Disney and Norman Rockwell, thought I was a pornographer, and they made things very difficult for me. The younger people, the people who could take new ideas, were the people I was addressing. I wasn't addressing the whole world. To those people who loved it, it was a huge hit, and everyone else wanted to kill me."[25]

Critical reception[]

Critical reaction was mixed, but generally positive. Vincent Canby of The New York Times wrote that the film is "constantly funny  ... [There's] something to offend just about everyone."[11] New York magazine film critic Judith Crist reviewed the film as "a gloriously funny, brilliantly pointed, and superbly executed entertainment  ... [whose] target is  ... the muddle-headed radical chicks and slicks of the sixties", and that it "should change the face of the animated cartoon forever".Stub Paul Sargent Clark in The Hollywood Reporter called the film "powerful and audacious",[11] and Newsweek called it "a harmless, mindless, pro-youth saga calculated to shake up only the box office".[11] The Wall Street Journal and Cue both gave the film mixed reviews.[11] Thomas Albright of Rolling Stone wrote an enthusiastic preview in the December 9, 1971 issue based on seeing thirty minutes of the film, declaring that it was "sure to mark the most important breakthrough in animation since Yellow Submarine".[26] But in a review published after its release, Albright recanted his earlier statement and wrote that the visuals were not enough to save the finished product from being a "qualified disaster" due to a "leaden plot" and a "juvenile" script that relied too heavily on tired gags and tasteless ethnic humor.[27]

Lee Beaupre wrote for The New York Times, "In dismissing the political turbulence and personal quest of the sixties while simultaneously exploiting the sexual freedom sired by that decade, Fritz the Cat truly bites the hand that fed it."[28] Film critic Andrew Osmond wrote that the epilogue hurt the film's integrity for "giving Fritz cartoon powers of survival that the film had rejected until then".Stub Patricia Erens found scenes with Jewish stereotypes "vicious and offensive" and stated, "Only the jaundiced eye of director Ralph Bakshi, which denigrates all of the characters, the hero included, makes one reflect on the nature of the attack."Stub

On Rotten Tomatoes, the film has a score of 57%, based on 21 critic reviews, with an average rating of 5.42/10 and the consensus: "Fritz the Cat's gleeful embrace of bad taste can make for a queasy viewing experience, but Ralph Bakshi's idiosyncratic animation brings the satire and style of Robert Crumb's creation to vivid life."[29]

Crumb's response[]

Crumb first saw the film in February 1972, during a visit to Los Angeles with fellow underground cartoonists Spain Rodriguez, S. Clay Wilson, Robert Williams, and Rick Griffin. According to Bakshi, Crumb was dissatisfied with the film.[21] Among his criticisms, he said that he felt that Skip Hinnant was wrong for the voice of Fritz, and said that Bakshi should have voiced the character instead.[21] Crumb later said in an interview that he felt that the film was "really a reflection of Ralph Bakshi's confusion, you know. There's something real repressed about it. In a way, it's more twisted than my stuff. It's really twisted in some kind of weird, unfunny way.  ... I didn't like that sex attitude in it very much. It's like real repressed horniness; he's kind of letting it out compulsively."[6] Crumb also criticized the film's condemnation of the radical left,[5] denouncing Fritz's dialogue in the final sequences of the film, which includes a quote from the Beatles song "The End", as "red-neck and fascistic"[4] and stated, "They put words into his mouth that I never would have had him say."[4]

Reportedly, Crumb filed a lawsuit to have his name removed from the film's credits.[30] San Francisco copyright attorney Albert L. Morse said that no suit was filed, but an agreement was reached to remove Crumb's name from the credits.[31] However, Crumb's name has remained in the final film since its original theatrical release.[11] In response to his distaste for the film, Crumb had "Fritz the Cat—Superstar" published in People's Comics later in 1972, in which a jealous girlfriend kills Fritz with an icepick;Stub he has refused to use the character again,Stub and wrote the filmmakers a letter saying not to use his characters in their films.[5] Crumb later cited the film as "one of those experiences I sort of block out. The last time I saw it was when I was making an appearance at a German art school in the mid-1980s, and I was forced to watch it with the students. It was an excruciating ordeal, a humiliating embarrassment. I recall Victor Moscoso was the only one who warned me 'if you don't stop this film from being made, you are going to regret it for the rest of your life'—and he was right."[32]

In a 2008 interview, Bakshi referred to Crumb as a "hustler" and stated, "He goes in so many directions that he's hard to pin down. I spoke to him on the phone. We both had the same deal, five percent. They finally sent Crumb the money and not me. Crumb always gets what he wants, including that château of his in France.  ... I have no respect for Crumb. Is he a good artist? Yes, if you want to do the same thing over and over. He should have been my best friend for what I did with Fritz the Cat. I drew a good picture, and we both made out fine."[33] Bakshi also stated that Crumb threatened to disassociate himself from any cartoonist that worked with Bakshi, which would have hurt their chances at getting work published.[34]

Legacy[]

In addition to other animated films aimed at adult audiences, the film's success led to the production of a sequel, The Nine Lives of Fritz the Cat. Although producer Krantz and voice actor Hinnant returned for the follow-up, Bakshi did not. Instead, Nine Lives was directed by animator Robert Taylor, who co-wrote the film with Fred Halliday and Eric Monte. Nine Lives was distributed by American International Pictures, and was considered to be inferior to its predecessor.[35] Both films have been released on DVD in the United States and Canada by Metro-Goldwyn-Mayer (the owners of the American International Pictures library via Orion Pictures) and the UK by Arrow Films.[36][37] Bakshi states that he felt constricted using anthropomorphic characters in Fritz, and focused solely on non-anthropomorphic characters in Heavy Traffic and Hey Good Lookin', but later used anthropomorphic characters in Coonskin.[38]

The film is widely noted in its innovation for featuring content that had not been portrayed in animation before, such as sexuality and violence, and was also, as John Grant writes in his book Masters of Animation, "the breakthrough movie that opened brand new vistas to the commercial animator in the United States",[35] presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era,  ... as such it has dated very well."[35] The film's subject matter and its satirical approach offered an alternative to the kinds of films that had previously been presented by major animation studios.[35] Michael Barrier described Fritz the Cat and Heavy Traffic as "not merely provocative, but highly ambitious". Barrier described the films as an effort "to push beyond what was done in the old cartoons, even while building on their strengths".[39] It is also considered to have paved the way for future animated works for adults, including The Simpsons, Family Guy and South Park.[8]

As a result of these innovations, Fritz was selected by Time Out magazine as the 42nd greatest animated film,[40] ranked at number 51 on the Online Film Critics Society's list of the top 100 greatest animated films of all time,[41] and was placed at number 56 on Channel 4's list of the 100 Greatest Cartoons.[42] Footage from the film was edited into the music video for Guru's 2007 song "State of Clarity".[43]

See also[]

References[]

  1. ↑ George Griffin - IMDb
  2. ↑ gg.html
  3. ↑ Fritz the Cat (X). British Board of Film Classification (June 2, 1972). Retrieved on March 12, 2013.
  4. ↑ 4.0 4.1 4.2 [1972] (2004) "Who Is This Crumb?", R. Crumb: Conversations. Univ. Press of Mississippi. ISBN 1-57806-637-9. 
  5. ↑ 5.0 5.1 5.2 5.3 Cite error: Invalid <ref> tag; no text was provided for refs named Barrier-3
  6. ↑ 6.0 6.1 Cite error: Invalid <ref> tag; no text was provided for refs named Barrier-5
  7. ↑ Cohen, Karl F. (1997). Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, pgs 82-83, Stub.
  8. ↑ 8.0 8.1 8.2 https://www.cnn.com/2011/09/21/living/bakshi-on-todays-cartoons-comics/index.html
  9. ↑ https://www.tabletmag.com/jewish-arts-and-culture/117682/bigger-longer-bakshi
  10. ↑ 10.0 10.1 10.2 10.3 10.4 10.5 Citation.
  11. ↑ 11.0 11.1 11.2 11.3 11.4 11.5 11.6 11.7 Cohen, Karl F (1997). "Ralph Bakshi's Fritz the Cat and Heavy Traffic", Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. North Carolina: McFarland & Company, Inc., 81–84. 
  12. ↑ 12.0 12.1 12.2 12.3 (2008) "Fritz the Cat", Unfiltered: The Complete Ralph Bakshi. Universe Publishing. ISBN 0-7893-1684-6. 
  13. ↑ (1969) Television/radio Age. Television Editorial Corp. 
  14. ↑ 14.0 14.1 14.2 14.3 14.4 14.5 (2008) "Fritz the Cat", Unfiltered: The Complete Ralph Bakshi. Universe Publishing. ISBN 0-7893-1684-6. 
  15. ↑ Bakshi on ... Fritz. The official Ralph Bakshi website. Retrieved on October 6, 2007.
  16. ↑ 16.0 16.1 (2008) "Fritz the Cat", Unfiltered: The Complete Ralph Bakshi. Universe Publishing, 62–63. ISBN 0-7893-1684-6. 
  17. ↑ 17.0 17.1 17.2 (2008) "Fritz the Cat", Unfiltered: The Complete Ralph Bakshi. Universe Publishing, 80–81. ISBN 0-7893-1684-6. 
  18. ↑ Epstein, Daniel Robert. Ralph Bakshi Interview. UGO.com Film/TV. Archived from the original on June 5, 2006. Retrieved on April 27, 2007.
  19. ↑ Cohen, Karl F (1997). "Charles Swenson's Dirty Duck", Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. North Carolina: McFarland & Company, Inc., 89–90. ISBN 0-7864-0395-0. 
  20. ↑ Cohen, Karl F (1997). "Importing foreign productions", Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. North Carolina: McFarland & Company, Inc.. ISBN 0-7864-0395-0. 
  21. ↑ 21.0 21.1 21.2 Cite error: Invalid <ref> tag; no text was provided for refs named Arrow
  22. ↑ "Ralph Bakshi - Interview", December 6, 2000. Retrieved on September 6, 2014. “And Fritz was a $700,000 picture that made $90 million worldwide, and is still playing.” 
  23. ↑ (2007) Planet Cat: A Cat-Alog. Houghton Mifflin Harcourt. ISBN 9780618812592. 
  24. ↑ "All-time Film Rental Champs", Variety, January 7, 1976 p. 48.
  25. ↑ Rose, Steve. "Who flamed Roger Rabbit?", The Guardian, August 11, 2006. Retrieved on March 2, 2007. 
  26. ↑ Citation.
  27. ↑ Citation.
  28. ↑ https://www.nytimes.com/1972/07/02/archives/phooey-on-fritz-the-cat.html
  29. ↑ Fritz the Cat (1972) - Rotten Tomatoes. Rotten Tomatoes. Retrieved on 30 August 2020.
  30. ↑ Umphlett, Wiley Lee (2006). From Television to the Internet: Postmodern Visions of American Media Culture in the Twentieth Century. Fairleigh Dickinson University Press. ISBN 978-0-8386-4080-7. 
  31. ↑ Citation.
  32. ↑ Crumb, Robert. The R. Crumb Handbook. M Q Publications. ISBN 978-1-84072-716-6. 
  33. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named BlackBook
  34. ↑ Heater, Brian (July 15, 2008). Interview: Ralph Bakshi Pt. 4. The Daily Cross Hatch. Retrieved on June 19, 2009.
  35. ↑ 35.0 35.1 35.2 35.3 Grant, John (2001). "Ralph Bakshi", Masters of Animation. Watson-Guptill, 19–20. ISBN 0-8230-3041-5. 
  36. ↑ ASIN: B00003CWQI. Amazon.ca. Archived from the original on January 4, 2007. Retrieved on March 2, 2007.
  37. ↑ ASIN: B000EMTJP6. Amazon.co.uk. Archived from the original on March 15, 2007. Retrieved on March 2, 2007.
  38. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Miller
  39. ↑ (2003) Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press US. ISBN 0-19-516729-5. 
  40. ↑ Citation.
  41. ↑ Top 100 Animated Features of All Time. Online Film Critics Society. Archived from the original on August 27, 2012. Retrieved on March 2, 2007.
  42. ↑ Top 100 Cartoons. Channel 4. Retrieved on January 28, 2008.
  43. ↑ Guru, feat Common, State of Clarity, Video. Contact Music. Retrieved on October 6, 2007.

Works cited[]

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