Showing posts with label libretto. Show all posts
Showing posts with label libretto. Show all posts


Composer+Librettist: Link Starbureiy
Premiere🗓️🎄: December 21, 2018

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Easter is a five (5) story-arc~ opera about the coming-of-age of juking. I hope for this to be a simulacrum where the technology is showcased for feasible use cases (ie. a medium of sorts for product demonstration).Arc: Easter:Die, Detective!Easter:Déjà VuEaster:Déjà RêvéEaster:Déjà EntenduEaster:Déjà Vécu
The first of its tales aptly deals with contemporary civil unrest with foci on the interrelationships between law enforcement in communities it serves, and corruption within the justice system as a whole.  It unfolds from the perspective of an African-American male who feels circumstantially slighted by society, and because of that, takes the law into his own hands and goes on a rampage which erupts into a war in the process.  I personally think that the ideal theatre for such a drama is via cinema🎞️, and the best vehicle for telling it non-generically may be the Die Hard brand.

Note (+): I have permission from Dial Press, the publishing house for the books, The Detective and Die Nigger Die!, to use those works as I see fit, however faithful.  That is the connection to the Die Hard universe, and my legal authority to move forward with this piece.  Easter is in some ways heterotic; an operatic synthesis where Easter (Joe Leland) polices a hybrid storyline set in the modern world. It has continuity (courtesy of common characteristics), but is not an actual/proper sequel, per se; instead it's a standalone adaptation/re-interpretation/reimagining. an aside, I subtitled this original screenplay 'Die, Detective!', and made "Die hard, John McClane." a verbatim.

The Die Hard movie franchise is one of the most popular and best-critiqued action series in cinematic history. Spanning six films (five sequels) over the course of thirty (30) years (1988 - 2018), the series has a non-linear storyline centered around a lone police detective, Joseph "Joe" Leland (aka John McClane), his sometimes alliances, frequent mishaps, and steady heroics.  They're all good, some are better than others, but they each follow a standard/traditional Die Hard formula:
- the hero typically starts out wearing a clean white shirt that gets progressively dirtier throughout the film (a cinematic timeframe of no more than 12 hours) until it is noticeably filthy
- Some antagony introduces itself that constricts a situation, usually forcing the hero to react (thereby getting his shirt dirty in the process)
- A spectacular climatic distress sequence ensues.  Here are those scenes from the first five (5) films in the series:

Die Hard has been and is a portrait of sensational action that gently samples high-technology in its sequences [eg. the touchscreen in the Nakatomi Plaza lobby (DH1), the fax machine (DH2)].  In bringing it to a close after its thirty year run*, I propose a few things, two (2) of which are: the incorporation of a backstory for the sake of character development, and the introduction of substantive dramatic elements.  Logic dictates that, if either of those things is missing from a closure piece like this, an opportunity to tie up loose ends in the narrative would have been forfeited.Trivia: 2018 marks both the thirtieth anniversary of Die Hard (first entry) and the fiftieth anniversary of The Detective (film).
I don't envision just collating subplot points from prior entries, but to look altogether retroactively at Thorp's literary interpretation of The Detective (some time after which Leland retires, hence, the events of Easter would hypothetically take place before and leading up to Nothing Lasts Forever -- this episode is set a lot of months prior). From there, I have interwoven those minor elements into the major tapestry that is this opera.

Note (+): The book, The Detective (1966)(which serves as inspiration for this piece), was translated onto screen as a movie of the same title in 1968. It starred Frank Sinatra as Joe Leland. Later (1979), a sequel was written for it called, Nothing Lasts Forever. That was made into the movie 'Die Hard'. Sinatra rejected reprising the role because he felt that he was too old to play the part again (1988), so the studio eventually chose Bruce Willis. In doing so, they edited parts of the book's storyline around in an effort to modernize it. One of those changes was Leland being renamed 'John McClane', and the character portrayed as more youthful. But for all intents and purposes, 'Joe Leland' and 'John McClane' are the same cop in The Detective universe.

Nothing Lasts Forever is actually the dénouement of the dramatic arc (told as Easter:Déjà Vécu).

The hardnose behavior and temperament of our detective is risque, to say the least, and has been valued as an asset among fans.  He has been used to represent the everyday man who perhaps could not say and do things that were otherwise unfashionable.  His exploits and adventures throughout the series have touched on sensitive topics, such as racism (DH3), xenophobia (DH5), and large-scale domestic terrorism (DH4).  The audience knows what they are getting with Leland; it revels in vicariously helping him sort through the predicaments he faces with the expected outcome of a better day lying ahead because he just surmounted the odds.

... and that is where we find Easter (Joe Leland) today, an old man on the brink of retirement from the force, but genuinely unsure of whether the odds are still in his favor.  His insecurities stem from years, .. decades of having rubbed people the wrong way in order to answer the calls of duty that may never add up to anything more than a thankless job. He drinks away personal demons thus becoming his own worst enemy, and now, in an effort to save both his reputation and family, finds himself in a war pitted against the most formidable foe - hatred.

In today's current social climate, pockets of once-latent animus are spreading across the globe - be it from shifting politics, stances on immigration, bigotry, or what have you - engendering bunches of armchair heroes and keyboard⌨️ warriors; cowards in need of a figurehead they can galvanize behind until their version of order is restored or parturitated.


Unless things are under control, then things are out of control. What we have here is a major city (Philadelphia) on the brink of chaos. There has been yet another incidence of fatal violence committed toward an unarmed and presumed innocent minority at the hands of law enforcement, this time, they belong to Easter's own partner, Bunny (Mike Petrakis). Unfortunately for said law enforcement, the difference between other jurisdictions and the City of Brotherly Love is that she lives up to her reputation as being the most blue-collar, no-nonsense town in America, totally intolerant of brutality towards its citizens by those who have taken an oath to protect them. They have social media and a backlog of public case studies replete with examples of no justice being brought to officers in the courts of law. Now, where there was hope and maybe even expectation of a drawn out trial that could potentially result in an acquittal, certain neighborhoods have other plans for dealing with the perpetrators.

Bunny is an ambitious rookie cop (first year on the force) who is fresh off of a murder case he just helped solve.

Harkening back to Thorp's original Detective plot somewhat, the case that has just been closed involved a brutal murder (victim's head crushed, genitals mutilated, beating, etc.) in which Petrakis has just deciphered clue codes. In this version of the storyline, it turns out that the victim was dating the daughter of the mayor. There are suspicions that Bunny had been involved in the crime from the start, and was protected by the mayor himself as a favor. Hence, we can see why he is rising in the ranks rather quickly.

I envision him in the mold of Mark Fuhrman, the notorious detective from the infamous O.J. Simpson murder case. -- a snurky dude who was willing to plant and tamper with evidence that could have damaged an investigation. Except that this guy (Bunny) is on the clock (he has political bosses), and that makes him extremely dangerous.

With the assistance of his connections to the city government and dubious ties to the criminal underworld, he is being quickly promoted through the ranks. Having been partnered with retiring lieutenant Easter, Bunny figures that the most opportune time to test the limits of his authority should and has come while under the tutelage of one of the most controversial officers in this country's history. On a routine traffic stop, and doubtedly 'fearing for his life', he opens fire on a seatbelted father and his young daughter, killing them both. With no witnesses other than an unwitting Easter, the department and city are left with the difficult task of explaining and defending this tragedy to the public. Questions arise: is there innocence in this case, and where to place the blame?

Easter had little idea that his assigned partner was a slimy, full-fledged racist, nor did he understand how deep corruption ran throughout the city's major players from top-to-bottom. Now, with a special political election underway, the town's entrenched power elite are out to protect themselves from this rising menace (potential civil outbreak) at considerable cost. Their tentacles run deep. Easter's entire precinct [spearheaded by his captain, Lent Goode (Tom Farrell)] turns against him (forcing him into absolute fugitivity), leaving him embroiled in a search for the truth about his colleagues, the city, and own future.

Enter Fer.

In the wake of this, we have a civilian, a man named Fergus, who, having been disillusioned with authority after his own recent encounter with the legal system moved him beyond reproach, devises a plan to carry-out what he sees is the only logical solution to stop and prevent any further foul play against his community - the killing of all police officers, and the dismemberment of local officials (eg. elected officials, ombuds, prosecutors, etc.) for whom they serve. Worst of all, he is even willing and competent enough to take his cause further, rage an all-out war against anybody who is in disagreement with his self-reliant/self-preservation, protectionist philosophy. This inevitably makes random persons at fault and no one a safe target, but he can rationalize it by using the 'survival of the fittest' evolutionary tactic.

I wrote Fer to be perhaps the nastiest, most vicious antihero ever. In creating him, I referenced source material from Hubert Brown's autobiography, experimenting with what the fervor from a die hard (pun intended) political activist could have been like in 1960s America, while at the same time borrowing some traits from characters in movies and television shows dealing with inner-city gangsters and the drug game (I especially was influenced here by Curtis "50 Cent" Jackson's psychotic portrayal of Kanan Starks in seasons one and two of Power), elements of spaghetti westerns (particularly the 'lonesome dove' act of Clint Eastwood in the "Dollars Trilogy"), and also power broker flicks.

Every so often somebody comes along who turns the game on its heels; completely changing the status quo, more often than not for the better/best. This is why it's so difficult to pin labels on these characters when you can clearly see from where they are coming, and to some degree, going. However, the mastermind behind all of the drama won't be revealed until the epilogue (per usual).


To reiterate, it's impossible to say who the hero is in this piece, for both sides have selfish interests. As we dig more into the detective's biography, we learn that perhaps he's been coddled by the police force for so long that he's become used to working in an air of privilege. Even though he may think that he is doing the right thing in 'fighting bad guys', his inclination for careless destructive behavior (massive property damage, etc.) and homicidal tendencies show that he is really no better than the other side of the coin, figuratively speaking.

What we do get to see, though, are the real detective skills of Easter. Dramatically, his character is fully developed here. There is clear and present danger that, for the most part, only he can address, and if he does his job, he ultimately becomes a protagonist. If he fails, then we are left to ask what constitutes a 'good guy' anyway(?), and moreso, are patrol police people necessary in today's world where artificial surveillance is so prominent?

In Die, Detective! (DH6), Easter faces easily his greatest test yet ('Die Hardest'?) as he seems to be getting it from a myriad of angles; he is under siege from a number of threats: Fer, Bunny (partner who embodies the municipality's corruption), his own family, past haunts, the uphill battle against alcoholism, and, sadly, the debilitating effects of aging. I (and this may be just me) liken it to a Batman storyline where the so-called 'Caped Crusader' must square-off against foes from his rogues gallery in the same paneling. Something like Batman (also a vigilante detective) versus a concerted Joker, Penguin, Riddler, Catwoman, and even Robin all at once. This is serious.


No one is sure if the detective will make it to a ceremony. But one thing is certain, as long as he clasps the hands of oppression disguised as an agent of service, then sooner or later, John McClane will be retired one way or another.

Here we have a civil war in effect. Even though it (urban guerilla warfare) takes place over the span of a single Christmas Eve🎄, the causes of it have been brewing for at least some years. All of these emotions are brought to the surface in this piece where over a million people (~2/3 of the population of Philadelphia) perish, and the audience will have to choose a side.

My outline (act structure) is as follows:
- Act 1: remembering sad holidays [prologue]
- Act 2: monstrosity is a tendency
- Act 3: hallucinating from hallucinogens leads to hallucination
- Act 4: dirty shirt
- Act 5: of death and John McClane
- Act 6: Pillowsoft [epilogue]

Tech targets

+ skinput

@Attention: casting call announcement📣

(projections until confirmed)
/[main cast]
- Easter, a retiring police lieutenantoffered to Bruce Willis
- Bunny, trainee of Easter
- Link Starbureiy as Fer(gus), the antagonistCONFIRMED
- Jet(hro), intelligence operative and son of Easteroffered to Jai Courtney (other actors may be considered)
- Rumer Willis as Luci(a), daughter of EasterCONFIRMED

/[minor cast]
- Eógan Tyrone, mayor of township
- Slick, powerful crime boss
- Lent Goode, Easter's police captain
- Wendy Roberts, civil servant and in-house Doctor of Psychiatry
- Reginald VelJohnson as Alven, retired police sergeant having a decades-long friendship with EasterCONFIRMED
- Jupiter, friend of and sometimes collaborator with Easteroffered to Samuel L. Jackson
- fabl3, computer hacker and government associateoffered to Justin Long

Note (+): As of September 2017, Bruce Willis has agreed to unspecified terms to be cast in 'Die Hard 6'. Any and all confirmations strictly means that talent has opted to work on piece in some capacity relative to what has been proposed.

Note (+): Because of the speed at which I plan to move (on schedule), the antagonist in the story has been written so that the actor would really need to have a close relationship with the writer himself (me), so I've penciled myself (Link Starbureiy) in the role of Fer.  And since I know exactly what I want, I doubt that will change.

- direction+cinematography+writing = Link Starbureiy, Roderick Thorp[1] (writing), H. Rap Brown[2] (writing)
- visual/special effects = Digital Dimension[1]+Pixel Magic[2]offered
- costume = ?
- sound = ?


The following employment opportunities are non-unionized paying contracts available to contractors*. All positions seen here are active; if the position is not in this space, it is not active. If no positions are posted, it means just that - there are no available gigs. Jobs, their descriptions, and any related information is always subject to change. To begin (an) application, open the lines of communication with a direct (private) message to me on YouTube using your Google/YouTube account.  Messages in the comment section may be considered responsive, but only insofar as mutual interest exists.Contractors must draft their own contracts (as to what salary, working conditions, etc. is acceptable).
+concept artist - proficiency with variety of vector graphics programs (Corel, Adobe/GIMP, MS Paints, etc. w/ brushes: watercolor, camel hair, airbrush, crayon/oil pastel), strong 2D/3D modeling and CAD. Skills in character animation with said tools is a plus! -- can you do stuff like this?
+military consultant - help draft schematics for war games in an urban landscape. An ideal candidate will have experience in actual combat (deployed), ROTC, and/or be solid player in real-time tactics video games such as Call of Duty, Medal of Honor, Sniper Elite, and Battlefield -- in these scenarios, we need to know - given certain time constraints - what is feasible versus infeasible in urban guerilla warfare. Considering that Philadelpia, PA is a relatively large layout with many rowhouses, sidestreets, a trolley/elevated transit system, and on a river, how would battalions attack each other with limited munitions in that setting? --- if you're a gamer, demo your vids on YouTube with the hashtag: #wargamesforEaster

Note (+): Gamers, whose efforts are appreciated😉, are not going to be compensated.🙁 You should, however, be signed-up for AdSense so that you can enjoy the revenue you get from playing games on your channel. If your strategies are used in the final cut, you will receive credit (as your screenname).

+actors - both dry and wet. A dry actor is one who helps with fleshing out a scene, particularly assisting the concept artists to better communicate their illustration. These individuals are not expected to have screen time. On the otherhand, a wet actor will audition for a role to be seen by a wide audience. --- dry actors may be selected from local (ie. in Missoula) talent, wet actors should frequent their respective film office bulletins in Philly ( and Butte ( in the coming months. All hired actors must not be SAG-AFTRA [SAG/AFTRA=no].

Note (+): All acting assignments are paid gigs that will receive credit.

+music - besides myself and a mixer, the music department will be headed by a classical composer with experience in film, television, or (the cinematic elements of) video game scoring. Themes from Michael Kamen's original score will be incorporated, so the department will need to compose additional new music (2+ hours) around that. -- applicants should hold a bachelor's degree in music.
btw, isn't this great?:

+video game programmer - going off concept art to develop the complementary app for Easter. For the most part, gameplay is styled after the Pokémon Go game (2016), consisting of mixed reality/augmented reality elements super-imposed on locations. -- do you think your team can ship a monetizable app by April 1, 2018? Show me your GitHub.
+automotive engineer - somebody who can prototype interfaces for self-driving vehicles (smaller cars). You will need to be comfortable with CAD+3D printing of dongle accessories (these control the automobile) into which your machine learning software will be built.

Financial literacy

Private offering information




Easter.1 | libretto

Your downloadable digital compile🔐 includes the piece's multiplexed mathematics and a deluxe edition of the print (Easter:Die, Detective! cinematic). Ships premiere day 2018.

Note (+): The libretto/libretti is sold separately; your payment of fifty dollars ($50) does not grant you revenue participation rights.


Below are offered perquisites ('perks'). These tiers each have their own set dollar amounts indicating cost-per-item ($/). Think of them as bonus gifts in addition to holding revenue participation rights (ie. shares). A shipping address may be necessary to deliver tangible goods.

+ $500/signed shirt (autographed by Link Starbureiy) [shipping NOW]

Item description: You'll look good in this shirt. The UUe jukebox logo (UUelcome Home) prominently featured on the front, to go with Lnq's motif printed on back, will have you styling wherever, whenever.
- quality long-sleeve crew neck shirt is 100% cotton (pre-shrunk), soft+durable to keep you warm (roll up sleeves to cool off)
- fit is unisex standard
- machine wash cold inside-out with like colors. Tumble low dry

Please allow 4-6 weeks for delivery (I doubt it will take that long, but I'm obligated to say it😇).

+ $1,000/underwriter credit - Credited as an 'Underwriter' in the movie. Your name (first plus last) will appear in the end scroll during film credits. You'll also get a signed shirt. [ships December 2018]

+ $25,000/private screening - Enjoy the pre-release (plus meet+greet) with me during a screening for professional journalists. [transportation and lodging accommodations are your responsibility.] -- This perk also comes with an 'Underwriter' credit and a signed shirt. [ships December 2018]

Additional hospitality: As my personal guest, you will receive an entrance badge to the theater, a custom seat (this just means that you'll get a nice view if stadium seating is available), and a gift bag to take with you. There will be catering (suited to my cuisine tastes, usually nourishing soulfood) on-hand to everyone during the experience. This should be fun!


The following is a question (Q) and answer (A) format organized by topic, many of which may be anticipatory.
Q: Is this Die Hard 6?
A: That is the aim, yes. Technically, it is 'Easter:Die, Detective!', but for legal reasons (I do not own certain intellectual properties), it cannot be called straight 'Die Hard 6' at this time. As/If we get closer to dealing with 20th Century Fox (said IP owners) about a potential (distribution) partnership, a proper Die Hard title will be revealed. The international title is '"Die hard, John McClane."', which is permissible mainly because it is verbatim theatre (ie. spoken by a character).
Q: If you cannot obtain certain franchise rights, will the movie still be made?
A: Yes. This is my work. Monies raised go towards financing a project created by me to be released to the public. If there is legal rejection from 20th Century Fox, that is not an impediment; I have permission from the book publisher to pursue a literary angle. And even if that were to be rescinded, this is an original work that can just be marketed as Easter, anyway.
Q: Is this an opera or a movie?
A: Both. Easter (the final product) is an opera told cinematically. Much like how you can have a movie based on a book. The story centers around characters and a plot outline spiritually connected to the books, The Detective (1966, Roderick Thorp ISBN: 0-8488-0375-2), and Die Nigger Die! (1969, H. Rap Brown ISBN:978-1-55652-452-3)
Q: When does the opera premiere?/When does the movie hit theaters?
A: December 21, 2018 (Christmas holiday weekend [domestic🇺🇸])
Q: Under what genre is this classified?
A: It is of the war genre. While still a 'Die Hard' movie (ie. lots of action and so forth), the setting is moreso placed in 'The Detective' realm, rather than the 'Die Hard' realm. In that sense, it is also a crime drama.
Q: What is the duration of this movie?
A: Running time for Easter:Die, Detective! is ~200 minutes (3+ hours).
Q: When does filming commence?
A: Late February 2018 (estimated to last through July 2018).
Q: Where does filming take place?
A: Principal photography will be shot on location in Philadelphia, Pennsylvania and Butte, Montana. Butte can serve as a backdrop for Philadelphia since it has residential neighborhoods that share similar architecture to those in southeastern Pennsylvania. And also - in addition to some of the tax incentives the State of Montana offers filmmakers - because it has a large Irish community (which itself plays a substantial role in this piece).

Q: When is the expected turnaround for my investment?
A: Within thirty (30) days after box office close.

We are happy to take you - the fans - on a conclusive journey as we retire our favorite cop.  Here, you get a first-hand account of my thinking into the development of this masterpiece.  Wish me luck.  Enjoy.

+EGP Keynote

Inventor: Link Starbureiy

EGP is The Origamic Symphony's keynote, and the calculus of Egglepple. [EGP/fruut]
An invention {September 1998} of Link Starbureiy🤓, our cipher is such that kernelized handshakes are integral to l-string frequencies*. Sequentially, this means that both yesegalo (flavor generation) and crypto fabrication (primary, secondary, tertiary, and quaternary structures) remain asynchronous as long as preimage-image contracts are kept (ie. the tonic will harmonize the brane to the point of closure🔒).EGP is what gets encrypted on(to) algebraic curves.

Note (+): Keeping contracts is the basis of self-synthesis.

Absolutely considered in the analysis are the concepts of integration (loopstring) and differentiation (stews).


libretto embedding (see also pajamas)

+pink poem

Pink poems (not to be confused with 'pink sheets') or the Pink program*, are opus services^ for recapitulation preluded by an impromptu rondo. A pink poem ('pink') optimizes ludology [ie. kernelized push movements (openingmiddlegameendgame)] for predicting fibor architecture (structure+pattern) from its sequence.Runtime of declarable walks for print staging. A class of tuning algorithms. (see also Lnq's Starting Five, UUhistlegrass, touch-and-go, patch, Mathilda, UUelcome)
Notes (+): +It is called a "pink poem" just because Link Starbureiy liked how that color [RGB:255,0,100] (I call it watermelon🍉) looked on the design of the UUelcome Matte (and for the matching letter p's😉).

+Pink poems are reports that fulfill the LES prerogative - utilization of defensive disclosure, whereby such publications become prior art upon forfeiture of patent application code (in the public domain).

+Pinks share a common gameplay directive with Lnq's bubblegum.


Each hash [function] (#) is a declarable datum, plus an operator* on that datum.Each thread indexes (table, ie. 'playlist') a specific hash. Cryptos behave as the operators in this case. (see also patch, flageolet pencil, UUhistlegrass)


The tutti ("all together" or "recombination") is a responsive heatmapping of all cryptographical kernel components [stereotypography, operation, integer asymptotics, and ludology (SOIL) hashes] onto the libretto. (see also puzzle)
Function map: tuttiUUhistlegrass


Toonage (truncation of 'cartoonage'*) is the diction given to the chronology of cassette releases [lyric seasons of Lnq's recital] called toons. Tuning trains^ the jukebox by standardizing brane ornamentation(libraries+patchwork). Toons themselves are individually/inductively ordered (n + 1), but because it is feasible for two (2) or more to be confluent, offered is a finitary
Naming convention
Toonage is marked using the following standard alphanumeric:

Toonxx.nn[]# - where "xx" identifies the port, nn is the pencil count, the brackets [] carry the weight, and the addendum, #, is the episode (as an integer).Wordplay, but should be taken here like 'fine-tuning' (cf., musical tuning). Implies stereotyping on paper. Training comes from redundant server-side proofs🔒, which lead to better TOS compatibility. (see also meshroom, opus, mixtape, cybernetic governance)

Note (+): Principally validating file hierarchy.


A meter signature is a server-side authentication/or as a source of access-level trust.
[Do not confuse with key signature, time signature.]

Because each opus has a finite ¢ent value associated with its image, only a certain number of ¢ents can be allocated to a signee (ie. juker). Such game logic (cassette+certificate+token) designation requires genuine digital validation/verification before or so that the transaction can be approved for decryption or encryption (known as securing🔐). Otherwise, a user can hypothetically create counterfeit (non-injective) assets - hijack the platform to forge proof - which is fraudulent and disallowed. (see also juke notation, coupon)

Note (+): Signatures, manifested in tutti progression, are ultimately a means for reducing rotisserie stress.

As a further control method, this data is defaulted to the ledger (as public information).
Function map: patchy-proofcassettesignatureUUelcome


Author: Link Starbureiy
Copyright: ISSN 2165-6738

Fugue-conducive, UUhistlegrass is the libretto@ [folio of looseleaf* postcards] feeding Link Starbureiy's repertoire. It is UUe's portable linktime: behaving as Lnq's flowchart^ where his recital is scored+digested.Basically, a libretto is a thread compile relating the mathematics to the image. Transient holographs A conversation between the impresario and his muse.

Notes (+): +All jukebox activity is recorded on the ledger, however, some entries - like miscellany (#miscellany) and blurb (#blurb) - may be excluded from archiving, which catalogues Link Starbureiy's compositions/signatures. Executables are filed under #libretto, articles (eg. 'papers') under #article.

+This libretto [essentially a cartridge of individual compiles (cassettes) that are organized by ephemera (hash)] corresponds to a logfile. To a degree, it may be likened to sheet music, or the dopesheet in traditional animation. (see also Lnq's Starting Five)

+ The contents of these documents may meet basic disclosure/transparency requirements as codified by federal law and referential scholarship. Additionally, they fulfill specific accounting standards as promulgated by certain preservation ordinances.

UUhistlegrass has a permanent record with the Library of Congress in the United States of America, as through an issued International Standard Serial Number (ISSN).
//: ISSN 2165-6738
Furthermore, that same record is catalogued by WorldCat with the following catalog number: OCLC 774054633