Sorry to toss another bit of found comedy at you but I keep finding it and that’s easier than excavating it by a hard journey down into the humor mines, taking on the risk of banana peel lung or pie-in-the-face back. The salient thing here is that Michigan’s Adventure amusement park, which knows full well that I have never gotten their app what with how I can’t think of a single thing I might want to do that the app would help with, sent an e-mail explaining that everyone with the app should update it. And here is exactly how they describe the process:
This seems like a lot of work just to have a source that can tell you the wait for the Tilt-a-Whirl is under five minutes.
So you click ‘Reset Password’, then you click ‘Get New Password’, then you click ‘Reset Password’ again. This makes it sound like you’re not getting anywhere. You’re also given no instructions on how to get ready for FUN, which I’m guessing involves clicking the ‘Have Fun’ button at least four different times.
As I continue exploring the strange new world of Popeye and Son I draw now to the third episode, cartoon one: Bluto’s Wave Pool. Writing is credited to Anthony Adams, whom the Internet Movie Database credits with two episodes of this show, one episode of Foofur, two episodes of Fraggle Rock, and seven episodes of Darkwing Duck, all from the first season. So I don’t know about his whole work but he’s apparently someone good at the first seasons of things. Let’s watch.
Quick plot summary. Bluto’s annoyed that his new water park hasn’t got any attendees. Tank and his underbullies sabotage the public beach that is, after all, free and right there for everyone. Junior and Young VelmaDee Dee conclude Bluto’s responsible, and with Popeye start cleaning up the beach. To impress Young Daphne, Tank turns the computerized park controls up to “Action Park” and the resulting tidal wave threatens to destroy Sweethaven. Fortunately Popeye and Son are on hand to build a dike out of the palm trees, cleaning up the beach and sweeping everyone back to where they belong.
Quick thoughts. Am I a softie? Because I kind of liked this one. Things that I was dissatisfied with last episode, like not having any handle on the characters, got a bit better. Like, Young Shaggy turns out to be named Woody, and he’s a young surfer dude. This isn’t a lot of characterization, but it’s something to remember him by. You can add subtlety once you’ve got the base down. And the story makes sense in the Popeye Animated Universe without being quite a repeat of anything particular.
The most curious aspect to this is that Bluto doesn’t commit any villainry this episode. He opens a water park, yes, but his only idea to drive people to the park is to try advertising. And all right, advertising is evil, but it’s a socially accepted kind. Tank and his sub-bullies go out doing all the mischief, planting crabs in the water and army ants on land. And then pulling out a tanker to pump what I thought was oil all over the beach. Which shocked me since that felt like something Tank couldn’t ever be redeemed from. Maybe the script editors thought so too; we’re told later that this mud. You know, like those mud tankers you see driving up to homes ahead of winter.
In any case, Bluto doesn’t do anything villainous this episode. Perhaps in consequence, he never has a scene with Popeye. I know, right? You never see that. The most we get is he starts beating up on the computer that controls his water park, after Tank has told the lie that it’s broken and causing all this mayhem. This does also mean Junior and Popeye never learn that Bluto really and truly isn’t responsible for any of this, though.
And we get our first appearance of Eugene the Jeep, so far as I know, this series. He pops in to be harassed by crabs, and then to rescue Junior and VelmaDee Dee from the crab/army-ant alliance. I would think this a baffling appearance to people watching this for the first time. On the other hand, 1987 was an era where, like, you’d still see Popeye cartoons in the afternoon on WNEW-TV. So maybe Eugene didn’t need to be explained the way he would if this series were airing for the first time now.
Why are you asking where they got three giant anteater costume heads from? Sweethaven is a shore town, these places are lousy with giant anteater costume heads.
Oh, now, something I did like here was the army ants. They collect together to become construction equipment and walls and stuff like that. It’s a fanciful behavior, very much in the spirit of the Fleischer cartoons. Or even color cartoons, not all of them Paramount’s, where a swarm of insects would collect into a fist or a pair of scissors or whatever gets the scene going. The crabs don’t get as good an appearance, but Popeye, Junior, and Velma catching them by using underwear as bait is fun. Their using anteater hoods to shoo off the ants is also fun, again in this nice freewheeling spirit.
The climax, Popeye and Junior teaming up to save the town from the flood, inspired ambivalence in me. I like that they had this team-up. It makes the show feel more shared between generations. And it shows Popeye teaching Junior how to be a hero. Knocking down the palm trees lining the road to build a dike is the sort of spontaneous clever thing Popeye would do all the time, especially the farther back the cartoons go. However, Popeye explaining his thinking to Junior, however logically necessary this may be, kept the scheme from feeling spontaneous. It drained surprise from what they were doing. And something that might reflect me accepting too much of this Sweethaven as an established place. When Popeye knocked down those trees I thought oh, it’s going to be years before that road’s as nice again.
That might just be me affected by local events. We got hit this summer with a couple severe windstorms, one of which destroyed so many trees in a three-block radius of our house. (Fortunately none of ours, although it did knock one large bough off the front yard tree, and blow it across the yard into the driveway). And then another storm turned into a tornado that destroyed a wide swath along the Interstate, including where the good corn maze was. But it might also be my getting old. I rewatched Superman: The Movie recently and was bothered by how much of the Not Grand Canyon that Superman ripped apart to build that coffer dam when Not The Hoover Dam broke. Maybe it’s just me.
It says something about Bluto that he failed to consider advertising his water park. But since water parks have always been money factories for the owners, and there’d have to have been some talk about the place as it was getting built, maybe he figured word-of-mouth was all he needed? Still seems odd.
It may be that at the end of the last day of Michigan’s Adventure amusement park’s Halloween-themed season, the park employees agreed that an efficient way to clean out the park’s decor was to allow everyone to take whatever pumpkins they wanted. Or it may be that in the last hours of the season, the families of this low-key amusement park on the west side of Michigan (lower peninsula) began the biggest pumpkin-looting event I have ever seen and the employees felt helpless to stop it. Could go either way. In any case, none of you go finking on them to the Muskegon County cops, all right? This is family pumpkin stuff.
Not pictured here but people were also lifting decorative gourds with a street value, at the farmer’s market, of up to 75 cents each.
So a couple weeks ago Gary Larson’s The Far Side web site reprinted this strip from 1993. And I know what you, or anyone, is thinking when they look at this, so I’ll include it just after the picture.
Gary Larson’s The Far Side for some specific date in 1993. I absolutely love the detail that the ride operator has that tiny queue in front of him, especially as the ride is otherwise ungated. That’s the detail that separates the amateur from the professional cartoonist.
Ah! But … what about the Chance Twister? Because if you take a quick look at Chance Manufacturing’s Twister ride you see … something not too far off what Gary Larson drew here. The Chance Twister is on a partly twisted platform, yes. And the cars are different, but maybe there are different models. As a basic cartoon of the ride goes, is that far off?
Except. As we can see, the cars on the Chance Twister sit on top of radial spokes, propelled by the center of the platform. What Larson drew is, again like the Tilt-A-Whirl, something where the cars sit on apparently free-moving discs, on a platform that rotates as a body.
So we are left with the question: is this a fair representation of an actual ride called the Twister, with details like the center spokes left off for the sake of having an image that reads cleanly in print? Or was Gary Larson thinking Tilt-a-Whirl and naming it wrongly? Arguing against the Tilt-A-Whirl representation is that a Tilt-a-Whirl’s platform rises and falls; that’s the tilt that gives it so much a-whirl. What do you, the person with the eyes glazing over, think?
Anyway working out all the angles on this is why I didn’t get anything done today. Sorry.
I understand if you haven’t been reading Comics Kingdom’s 1943-vintage reruns of Dashiell Hammett and Alex Raymond’s Secret Agent X-9, what with by this time Hammett and Raymond having nothing to do with it. I think it was Robert Storm and Mel Graff by then, and Robert Storm didn’t even exist. But let me catch you up: Secret Agent X-9 is chasing down a baddy named the Little Corporal, a name which I’m sure had no significance at all to readers of 1943.
The Little Corporal has been trying to escape and after his first attempt — disguise himself as a gorilla in a midway show — failed, he ran to the Ferris wheel. It turns out you can’t really escape pursuit in a Ferris wheel, so he jumped down a tree, waved to Fatty Raccoon, and ran to the Scenic Railway roller coaster. So now you’re caught up to seeing how someone can escape on a roller coaster:
By the way the attempt to escape on the Ferris wheel wasn’t even the first time I’ve seen an adventure/crime comic where the bad guy tried to escape on a flat ride. There was a 1930s Dick Tracy adventure where the crook tried to escape on a Caterpillar ride. A Caterpillar was kind of like a Musik Express or Himalaya ride, cars going around and around on the track, but it had a canopy covering the cars most of the ride and the crook snuck out of the ride while the canopy was over. So that was a dumb plan but it was a better grade of dumb than “get on the Ferris wheel and try and climb out when the cops get to the ride platform”.
It’s an amusement park, of course, as we know from the rare (for Paramount Cartoon Studios) title card that dissolves into the front scene. With a story by Howard A Schneider, and direction and production by this Seymour Kneitel chap, here’s 1960’s Amusement Park. All those tents make it look more like a county fair or a circus to me, too.
Popeye worries that Swee’Pea hasn’t got through the Funhouse yet and it’s been over two hours. This is a funny line, reason tells us, as it’s good understatement in the face of absurdity. I didn’t chuckle. And that’s the cartoon for you. The cartoon is constructed right, with the setup making sense and the story developing reasonably. It leads, as amusement park cartoons have always done for Popeye, to antics on the rides, particularly the roller coaster. It just isn’t funny.
Some of that is the fault of the limited animation. Brutus fleeing on a Ferris wheel or a roller coaster is a silly idea, if you think about it. While waiting to catch up with why this is silly, though, you need some spectacle. The theatrical shorts could afford that. King of the Mardis Gras ends with a glorious ride along a beautiful giant wooden roller coaster. Abusement Park skimps on the roller coaster support footage but makes up with a string of elephants flying through the air. Here? … well, Popeye and Olive Oyl ride a Ferris-wheel car through a tunnel of love. It’s obscured but we get to hear the chaos.
I don’t want to nitpick but the sign lists them in the wrong order. (Also, ‘Baby Midget’ is a good bit of bunkum.)
The limiting of the animation spectacle works against everything here. Like, Swee’Pea going through the funhouse, while Brutus tries to catch him, and escaping each time? That should work. The innocent wandering heedless of danger might be Swee’Pea’s best role. But what makes a funhouse is having lots of stuff moving in surprising ways. In this funhouse, Swee’Pea crawls through what looks like an empty barn while Brutus is too slow to catch up.
It’s all animated and written with the usual Paramount competence. I can’t pin down what I’d rewrite to make it better, at least within what I imagine the limits on budget and time were. Popeye and Olive Oyl riding a loose Ferris wheel car through the air to crash into a horse-drawn wagon ought to be exciting. Something’s gone wrong if it’s not.
Early on Brutus explains he wants Swee’Pea “to take the place of the midget what drowned in the salt-water taffy”. That seems a surprising grim backstory for the cartoon, although it wouldn’t have felt out of place for a theatrical short. I wonder if the script was pulled out of storage from the Famous Studios days.
Sand: The Unassuming Mineral That Created Glass, Recreation, Navigation, Computers, and Changed the World
A History of the World in Six Token Coins
Bricks: The Construction Element that Built Empires, United Cities, Overthrew Kings, and Changed the World
Standardization: The 1920s Fad that Gave Paper Its Size, Brick Its Interchangeability, Consumers Their Freedom, and Big Business Their Unbreakable Domination, and Changed the World
A History of the World in Five Doctors’ Notes
Carousel Horses: The Medieval War Trainer that Entertained the Million, Invented Fun, and Changed the World
A History of the World in Ten Roller Coasters (I’m really hoping to set this one up for a fight with the carousel horses book.)
The Chipmunks: The Novelty Music Act That Revitalized Music, Redefined Animation, and Changed the World
A History of the World in Twelve Christmas Carols
Sheldon Leonard: The Racetrack Tout who Invented a Generation of Sitcoms and Changed the World
Rubber Bands: The Elastic Trivialities That Organized Our Work, Powered Our Play, Neatened Our Homes, and Changed the World (Also a possible fight with the carousel and roller coaster books)
A History of the World in Eight World Histories
References: Tea: A History of the Drink that Changed the World, John C Griffiths and Tea: The Drink that Changed the World, Laura C Martin.
This week’s cartoon happens to call out Merry Christmas. And to get a Happy New Year back. That’s the sort of subtle act of timing that’s really beyond my abilities; it just got lucky. But here’s Bimbo’s second cartoon in three weeks, and the second in which he was named as such. From the 20th of November, 1930, and animated by Rudy Zamora and Shamus Culhane: Up To Mars.
So why does this short start in an amusement park? (At least after some striking and neat special effects animation.) Why not, I suppose you could say. Also that it’s somewhere you could just have lots of big firecrackers hanging around. I suspect there’s a deeper reason. It goes back to A Trip To The Moon. I don’t precisely mean Georges Méliès and one of the maybe three silent movies even people who don’t care about silent movies recognize. But that helps. A Trip To The Moon was a ride at the Pan-American Exposition of 1901, in Buffalo, New York, showing exactly that. It was moved to Coney Island to be one of Steeplechase and then Luna Park’s signature rides. And to inspire trip-to-outer-space rides, to the Moon or Mars or other worlds, from there. So a trip to Mars starting at an amusement park might not be just because you gotta get rockets from somewhere. It might be because you could get to Mars from there.
Other planets, in the cartoons, were often wackyland places of reverse-logic and sight gags; see Tex Avery’s 1948 The Cat That Hated People for similar and I’ll admit better sight gags. I haven’t checked what earlier, and particularly silent, cartoons did with other planets. But the placement makes sense; jumping to another planet does give license to get weird and surreal.
It’s the second cartoon where Bimbo gets named. But he gets less distinctive stuff to do than even in last week’s Sky Scraping. I suppose he makes the choice to chase after the strikingly Mickey Mouse-like rodent that had been in his Roman candle. But that’s not a lot of character. And once up on Mars he has even less to do; he’s mostly just watching the shenanigans. Arguably the mouse does more to affect the cartoon. I kept waiting, once Bimbo fell in with the Martian soldiers, for him to be detected and that to become the story. Somehow it never did. He does get a few frustrated moments to snarl and snap at people in a satisfyingly dog-like manner, which is worth something certainly.
This is the second week in a row that the Moon gets punctured. Also the depiction of Saturn as a character with a big hat is one that I believe gets repeated in the October 1932 Betty Boop’s Ups And Downs.
It’s maybe too well-established to count as a blink-and-you-miss-it joke but I laughed when Bimbo tried to light the rocket and sets a cat’s tail on fire instead. The elderly Martian dancing with his detached legs and no body is a good reliable body-horror joke.
I have hit a particularly bad stretch of … everything … and need to scale back my workload even more. So I’m putting my King Features Popeye rewatch on hold. In the meanwhile to preserve this posting-every-day thing that’s apparently important to me here’s a republishing of my thoughts about the first Fleischer Studios Talkartoon, Noah’s Lark. I first published these thoughts back in October 2017. What’s changed in my evaluation of this short? Who knows?
I’m feeling in a talk-about-cartoons mood so why not look to the Fleischer Studios’ Talkartoons? These were a string of 42 sound cartoons that the Fleischer Brothers made from 1929 to 1932, and it’s where Betty Boop made her debut. She’s not in this cartoon. It’s easy to suppose the Talkartoons were made in response to Disney’s Silly Symphonies series. I’m not sure that’s the case, though. This installment, for example, doesn’t have any particularly strong song component. There’s music throughout, of course. It was 1929; if you weren’t putting sound into your cartoons you were hopelessly behind the times, or you were Charles Mintz and too cheap to do sound. And I’m not even sure that’s true.
In any case Leonard Maltin’s Of Mice And Magic cites a June 1929 trade advertisement for the series. The first Silly Symphony came out in August 1929, and while every animation studio tried to copy Disney, it’d be a bit ambitious to plan the copying of something that hadn’t come out yet. Here, originally released the 25th of October, 1929, is Noah’s Lark.
So, some thoughts. First is that I think this short predates the use of animation cels. For most of the 20s the Fleischer cartoons were illustrations done on sheets of bright white paper. The advantage of this is that if you only need to move a small part of the scene — like the monkey’s arms in that scene about 1:15 into the short, or the hippopotamus singing while his chest tattoo moves at about 1:35 — you just need to draw that fragment of art and put it over the base. On many silent cartoons you can even see the tear lines of the paper.
Second: the title actually parses. I was thinking through the first half that they’d done the most obvious humorous variant on the common phrase “Noah’s Ark”. But by bringing the action to Coney Island — Wikipedia says Luna Park, but I don’t know how they can pin it down to that, given that there’s no particularly iconic rides on display — they justify calling it a lark. Good, then.
That fun old-style stretchy-squashy-playing with geometry: I like the ship’s portholes bouncing around merging together to let the elephant out. Also the … magpies? Crows? Possibly penguins? … at about 2:22 in that need three of them with bicycle pumps to unflatten their comrade.
The Suspiciously Mickey Mouse-like character enters into this cartoon at about 5:00 in. The Blink-And-You’ll-Miss-It gag with the best laugh was on the carousel at about 4:50 for me.
There’s a recording of The Stars And Stripes Forever in here that I wonder if they didn’t use in the first couple Popeye cartoons as his post-Spinach action music.
Does this short have an ending? … I suppose so. The idea that the animals are out on Shore Leave does contain the implication that Shore Leave has to stop, so there’s a tolerably set-up conclusion to the short and a reason for the final scene to happen. I’ll allow it, but I’ll listen to contrary opinions.
HEY! @ComicsKingdom is doing a survey about what classic comics people might want to see brought back with new art and Popeye is an option – HINT HINThttps://t.co/cSa2sO4TqP
The survey asks what classic King Features comic strips people would like to see brought back, and what ones they would not. Included on the list are Popeye/Thimble Theatre, Apartment 3-G, Krazy Kat, Mandrake the Magician, and some others, plus spots to write in your own. I certainly have my preferences, but do encourage you to vote as you like. I would love to have more story strips, to read and to recap. I notice that The Amazing Spider-Man is not on the list of possible revivals.
And I’m aware that revivals and new-artists to comic strips are a controversial thing. I’m not sure if, besides Annie, there’s been a revival of a moribund comic strip that’s succeeded. One can fairly ask whether comics page space should go to Johnny Hazard, who’s a heck of a forgotten character, when some new and original idea might flourish. But if comic strip readers are reading more online, then there’s less of a limitation on space; the constraint is how much editorial support the organization can give. I assume the effort of supporting 55 strips is not so much more than that of supporting 50. (To pick numbers arbitrarily; I don’t know how many they’re maintaining offhand.) If a new Heart of Juliet Jones makes the whole enterprise a bit less fragile, good, then, let’s have it.
Does an online survey result in anything? I don’t know. The last time I saw something like this from Comics Kingdom it was choosing among possible names for John Kovaleski’s comic strip Daddy Daze. So it’s at least plausible. We’ll see.
Giddy Gold is another 1961 cartoon made by the Paramount Cartoon Studios crew. The story’s credited to I Klein; the direction, to Seymour Kneitel. It’s a basic story, yes. But it’s another cartoon in the era of Deep Cuts of Thimble Theatre cast. No, Roughhouse still hasn’t appeared on-screen. I swear, he appears eventually.
Popeye, like Superman, has an ambiguous relationship with magic. He lives in a world full of it, and people who can use magic to produce wonders. But he’s not comfortable with magic, since he can’t punch it. The Sea Hag is the most frequent source of magic imposed on Popeye’s world. Sometimes there’ll be a magic ring or a genie introding. Sometimes it’s Eugene the Jeep, whose powers — at least in the Fleischer cartoons — stick mostly to fortune-telling and harmless mischief. But there is another magical creature. She’s the thing you need to know to enter the club of Hardcore Popeye Fans. This is Bernice the Whiffle Hen.
Bernice the Whiffle Hen was a magical, luck-giving bird from Africa, given to Castor Oyl by uncle Lubry Kent in a 1928 sequence of Thimble Theatre. Castor Oyl hired the first sailor he saw to sail him to the gambling casino on Dice Island and that’s how Popeye joined, and took over, the comic. And more: Bernice’s luck gave Popeye the super-strength and invulnerability he needed to survive the gamblers shooting him. Popeye’s super-strength would eventually be explained by spinach. Bernice would (in a 1930 story) meet a Whiffle Rooster. She looked ready to leave with him, but came back, and now they live wherever the heck Ham Gravy and other lesser characters went. When Popeye needed a magical animal companion, Eugene the Jeep would do.
So here, now, we finally get an appearance by the Whiffle Hen. Or at least the Whiffle Bird, as Popeye calls her. Jack Mercer does the voice for the Whiffle Bird too, in a voice that sounds male. Really that sounds like he’s trying to do Wallace Wimple (Bill Thompson) from Fibber McGee and Molly. I don’t know why not have Mae Questel do the voice except maybe they didn’t want to give her three parts?
Is it economy of storytelling or just the assumption that kids don’t ask questions that keeps anyone from explaining how the Whiffle Bird is magical? I mean, the Whiffle Bird saying he’ll grant a wish explains that, but what preps kids for the bird talking other than that kids don’t see any reason a bird shouldn’t talk if it has something to say? (In the comic strip she says nothing but “Whiffle”.)
This is one of the few Popeye cartoons we can place to a specific time: the Whiffle Bird says it’s the 7th of day of the 7th month. July the 7th, then. Also, it’s the 7th hour, so Popeye and Olive Oyl are at the amusement park way too early in the morning. Maybe it’s the seventh daylight hour. Our Heroes are in a Tunnel of Love ride. I’m an amusement park enthusiast and I love particularly the more old-fashioned rides. So between that and the Whiffle Hen this cartoon is tightly aimed at my niche interests. There’s not many Tunnel of Love rides — also called Old Mill rides — out there anymore. I’ve been able to get to three, at Blackpool Pleasure Beach, Rye Playland, and Kennywood Park.
The cartoon’s depiction is basically right: you putter in a boat past scenes of, like, gnomes digging in emerald mines and stuff. Rye Playland’s got a really great example of this and if you can get there when the pandemic is over, I recommend you do. (Kennywood’s, last I visited, had themed their Old Mill ride to Garfield. It’s been re-themed since then, but I haven’t been able to see it.) Olive Oyl wishes the fabulous scenes were real and the Whiffle Bird decides to make this of all possible wishes come true.
Olive Oyl’s eyes bug out and stay bugged out. Popeye, instinctively distrustful of magic and easy riches, wants to drop the buckets of treasure. Especially when he hears there’s three dangerous dangers to overcome before they can leave. The first danger’s a stone tunnel slapping shut in a move that looks like a platformer game 25 years early. Popeye’s able to clip through it, of course.
The next danger is Medusa. Olive Oyl finds the menace laughable because she hasn’t been paying attention. Medusa turns her, and her buckets of treasure, to stone. This includes precious gems that, as a know-it-all, I must point out were already stone. Popeye offers a beauty salon treatment to beat Medusa, which is a good 1960s-tv-cartoon solution. It works, breaking the spell, when she accepts the beauty treatment. I’m sorry there wasn’t time for, like, twenty seconds of Popeye as a beautician. I’m not sure where to cut the time from, though.
The town of Chester, Illinois, is more indoors than I thought! Anyway if a Medusa is going to turn you into stone make sure you’re posing so you have natural balance. Medusa should provide the base that you stand on, though. Don’t give her any money for one! If a Medusa asks you for plinth money, however good her rationale sounds, it’s a con. Turn around and have a board-certified basilisk petrify you instead.
The last peril’s the Siren, and I have to say, this is a great Tunnel of Love. Popeye tip-toes towards her charms in a way I’m not positive wasn’t sarcastic, at least to start. Olive Oyl eats Popeye’s spinach and slugs the mermaid, which is enough to get them past the perils. They get to the boat, emerge into the sunlight and oh! Bernice(?) forgot to mention that the spell would wear off when they reached daylight. I understand the instinct to reset the status quo, although it’s hard to think why the Whiffle Bird would cast such a limited spell. Maybe s/he just likes causing mischief. I can respect that.
Making the Whiffle Bird talk, and cause mischief like this, expands her role from the comic strip. But it gives her character a clear separation from Eugene the Jeep. And she can introduce mischief in a way that Eugene couldn’t, at least not outside the Popeye’s Island Adventures shorts. So as character retcons go this is probably a good one. At least as long as talking animals don’t break the rules you perceive Popeye’s world to have. We’ll see her, or maybe him, again, although not enough.
OK, so it’s not Mark Trail’s week. But yes, Jules Rivera took over the daily strips on Monday. Her Sunday strips start next month. This is why Mark Trail looks different. Any news about the Mark Trail that I get, I’ll post in an essay gathered here. Yes, I too am worried by Tuesday’s revelation that the new Mark Trail may be a tiny little bit self-aware, but, hey. We adapted to Mark Trail sometimes internalizing thoughts for James Allen, after all. Mark Trail can notice how much Mark Trail has blown up boats and cars and islands the last few years.
But this essay is, in the main, about Jonathan Lemon and Joey Alison Sayers’s Alley Oop. This should catch you up to mid-October. If you’re reading this after about January 2021, if there is a January 2021, you’ll likely find a more up-to-date plot recap at this link. Also any news about Alley Oop, if there is news.
Everyone was hanging around in Moo, last we left off. Ooola was rehearsing a play. She impressed Gromp, the director. Gromp pitches another job for her: using the play as cover to enter neighboring land Lem and steal King Tunk’s giant opal. She hates the plan. Gromp sends his dinosaur, Steve, to make her see reason. She beats Steve in a fair fight, though, and hauls Gromp off to be in a desert island cartoon.
That, the 1st of August, wraps up that little story. From the 3rd we get a string of events leading into the current story. It starts with a joyride: Alley Oop wants to go to an amusement park. So they return to the present, and Doc Wonmug looks for the greatest amusement park, past, present, or future. But who can tell him what that is? rec.roller-coaster just fights about Kennywood versus Knoebels versus Efteling versus Holiday World. (Did you consider Waldameer? Especially if you have a family? Very under-rated park, especially if you aren’t all about high-intensity everything.) So he goes to The Clawed Oracle.
The Clawed Oracle, off in a never-before-mentioned room of Wonmug’s Time Laboratory, is a cat. She pronounces that the greatest amusement park ever is in Saint Louis in the year 3277. They zip off to Future Saint Louis. The place stinks, apart from the giant pine tree air freshener hanging from the Arch. What looks like an abandoned warehouse is labelled Amusement Park #41. Inside is an array of virtual-reality goo-filled tubes. Despite the ominous everything, they go in.
Jonathan Lemon and Joey Alison Sayers’s Alley Oop for the 21st of August, 2020. A throwaway line established that the admission price was about ten thousand dollars (in 2020 money), which sounds like a lot, but if you can live for ten years on that? That’s a pretty sweet deal. Well, except the upcharges get you: Wonmug wasted another fifty thousand (2020) dollars in avatar-change shenanigans. I have to suppose that, like, park fries or the reverse bungee rides are similarly scaled.
It’s a good time, though, until the fortune teller learns they’re from the 21st century. On that she leads them to a secret reality within the virtual reality. And to Phil, leader of the Underground Stronghold Alliance. He tells of the Great Culture Famine, a mysterious event that destroyed culture. All that’s left since 2081 are these virtual-reality amusement parks. But what can three time travellers do? They leave the park and journey to Phil’s coordinates in 2081. And there they meet … The Clawed Oracle.
It turns out The Clawed Oracle is an eternal ethereal being who manifests on earth as a cat, so that’s a nice gig. She reveals who’s responsible for the Great Culture Famine. It’s Dr Wonmug, yeah. Indirectly. It’s really the clone of Albert Einstein that Wonmug made and then abandoned on a farm. She sends them off to deal with Einstein Two. (Why not Zweistein?)
Einstein Two’s gripe: his parents insisted he put all his scientific energies into the farm, and the zany cow bra business. So he invented a Grand Culture Eraser, to destroy all forms of art, past, present, and future. He has justification for this: he’s grown up to be a STEM jerkface so doesn’t see why gadgetry is not a life. Einstein Two proclaims this a gift to every child whose love of science was crushed by small-mindedness. Then Alley Oop punches his machine to rubble. Ooola smashes his backup, too. Dr Wonmug tears up the machine’s plans. Alley Oop digs up and rips up the backup plans. So that’s some success.
And that takes us to the start of the week. Also into a new timeline. Saint Louis of 3277 “now” has a giant chandelier hanging from the Arch. And Amusement Park #41 is the aquatic stadium any amusement park used for dolphin shows back in the 1970s when we were making that mistake. This looks like the resolution of a storyline. But it could also be the transition to a new story. Too soon to tell.
Featured on our roller coaster calendar this month is a ride from Six Flags Magic Mountain, their roller coaster Scream!. And apparently all this month every time I glace at the calendar my mind is going to go to zany wacky Dadist 90s cartoon Freakazoid!, and this one episode where — are you ready for the unpredictability? — a couple times each episode they had a low-key Ben Stein-ish voice say, “Scream” and then people scream. If someone would like to take this idea off of me, and let it occupy their thoughts instead, please drop a note.
I’m going to be in so much trouble if their November roller coaster is Candle Jack.
I mentioned last week how if you want to buy me something, any nonfiction book will be quite nice, thank you. I want you to understand this is not exaggeration. Before the pandemic shut down the libraries I sought out a book about the building of the Saint Lawrence Seaway. Why? Because I felt I didn’t know enough about it. I knew only what anyone growing up in a Mid-Atlantic state might know about postwar bilateral water route management. Surely I should know more.
Gary Croot, whom I hardly need explain is the Associate Administrator of the Saint Lawrence Seaway Development Corporation’s Operational Headquarters in Massena, New York, called to reassure that no, I already did, but he thanked me for my interest. Still, I went on to read the book and learned that, in fact, building the Saint Lawrence Seaway went about like you’d imagine. A whole lot of digging and a lot of people agreeing this would have been swell if they’d done it like eighty years earlier. Well, they can’t all have the drama of the Mars candy company. I still say it was a good choice.
So here’s some books you might pick up for me, if the bookstore employees don’t believe your “find me something more dull than that” request:
J: The Letter That Shifted Pronunciation, Altered Etymologies, Made Electrical Engineers Cringe, and Changed The World. Of course, I have a partisan interest in the letter ‘J’. But who isn’t fascinated by the way a letter can take on vowel and consonant duties and then gradually split between them? Or how it is we get to pick letters? And whether we are going to finally see the alphabet accept double-i and double-j as letters too? Why should u get to be the mother of letters? Perfect for people who want to be angry about things that not in fact unjust. 296 pages.
Hey-Dey: the Forgotten Amusement Park Ride that Saved Amusement Parks, Earned Fortunes, and Changed The World. Who doesn’t love the Hey-Dey? Everybody because who’s heard of the thing? But there we are, some old pictures of what sure looks like a ride what with how it has a platform and advertisements and stuff. How popular was it? What did you actually do on the ride? It seems like spinning was involved. Maybe a lot of spinning. Why doesn’t anybody know about it anymore? And does it have anything to do with the Lindy Loop? Includes a sweeping view of history including the discovery, in 1896, that people would pay reasonable sums of money to do things that are fun. 384 pages including 20 glossy pages reprinting black-and-white pictures of things we can’t make out anymore. Also 40 pages of the author cursing out Google for assuming that they wanted every possible six-letter, two-syllable string other than “Hey-Dey”.
I for one have always enjoyed the experience of automobiles skidding out on greasy roads so I’m sure I’d be in the 10 to 25 percent of people who repeat the ride. (My own photograph from the Herschell Carrousel Factory Museum in North Tonawanda, New York. The Hey-Dey was actually made by Spillman but you would not BELIEVE how tied together Herschell and Spillman were.)
Humpty Dumpty: the Nonsense Rhyme that Delighted Children, Befuddled Scholars, Made Us All Wonder Why We Think He’s An Egg, and Changed The World. There’s a kind of person who really, really wants Humpty Dumpty to have some deep meaning. Like, saying it’s some deep political satire or is some moral fable about buying on credit or maybe it’s just making fun of the Dutch? No idea, but that’s no reason to stop trying. 612 pages. Spoiler: we think Humpty Dumpy is an egg because both his parents were eggs, and they say their only adoption was his littlest brother, Rumpty Dumpty. Rumpty Dumpty is, as anyone can see, a shoe.
Busy Signal: the Story Behind the Tones, Chimes, Rings, Buzzes, and Beeps that Tell us the State of Things — and Changed The World. An examination of how humans use language and turn a complicated message like “that phone number is busy” into a simple buzz instead. That seems a bit thin to the author too. So then we get into other audio cues like how sometimes construction equipment makes that backing-up beeping noise even when it’s not moving. 192 pages.
So, I mean it. If you want to buy me something, look for any nonfiction book explaining a thing. If it seems like a boring thing, great! 568 pages about the evolution of the NTSC television-broadcast standard? Gold! You are not going to out-bore me in a book contest like that. Look, I know things about the Vertical Blanking Interval that I have no business knowing. And that is everything I know about the Vertical Blanking Interval. And yet I want to know more. Find a topic dull enough that it’s putting neighboring books to sleep, and you’ve got me set. Thank you.
What was, historically, the capital of the Ohio Territory?
What is the largest city to border a Great Lake?
Where’s the Cedar Point amusement park?
How are you today?
Did you know psoriasis can get into your ear? How does that make sense?
Are the Kinks getting back together?
What makes our new Terms of Service so all-fired different from the old Terms of Service that it was worth sending you a new Terms of Service to pretend to read?
Is there going to be weather tomorrow?
What’s the seat of Hamilton County, Ohio?
Back in the early 20th century when there were “traction companies” running trolley cars all along city and even suburban streets it’s … like … they were transmitting electric power for cars along overhead lines, right? It’s not like they were running gigantic ropes and pulleys dragging things through town? Because that couldn’t possibly work, but “traction” seems like a weird name for “streetcar electric power”, right?
Where was Case Western Reserve University originally located?
Which United States Vice-President swore his oath of office in Cuba?
What’s the name of your Chicago cover band?
Yes, but did you like the movie?
Reference: Science From Your Airplane Window, Elizabeth A Wood. “Cleveland” was the name of your friend from college that you never really lost touch with but never talk to either’s Chicago cover band.
The good thing about humanity is realizing just how much we all aren’t doomed.
Photograph taken by me at Kennywood amusement park last year, that I’m owning up to now because the statute of limitations has passed and the original owner can’t complain to the authorities. Yes, the ride being exited from there is called the Kangaroo, but that’s a bit of a misnomer as you don’t go riding in the pouch of anything for it. You are thinking of Zamperla’s Kang’A’Bounce ride instead.
They had Wayne and Garth impersonators at the thing?
The 90s, huh?
All right but how can Wayne’s World be part of a whole Kings’ Dominion? Are we to believe the dominion encompasses more than a single world? Given the difficulties in establishing a functioning imperial bureaucracy over even a single planet?
Is this a bit?
The heck?
OK, but the “Mid-No-Way” is worth a chuckle at least the first time you hear it.
Reference: Functional Analysis: A Short Course, Edward W Packel.
I know you may be distracted by that window ornament in the background for Canobie Lake Park. It’s an amusement park in the town of Salem, New Hampshire, and if you find yourself in New England for some reason I recommend visiting the place. I mean, they’ve even got a Caterpillar ride, with the retractable canvas cover, and do you know where else you can find one of those? In the year 1938 and that’s about it.
I know, I can feel how excited you are too. There’s several great reasons to. For one, it allows me to finally truthfully increment my lifetime count of “blue fluids consumed”. For another, “Diet Faygo Arctic Sun” sounds exactly like the sort of thing that Zippy the Pinhead would start chanting for three, maybe four panels straight while standing near miscellaneous roadside attractions. It’s something that just keeps on giving.
I know there’s exceptions to this next statement. But, generally, going to an amusement park is fun. I mean for the people going to the park for the purpose of fun. Just let me have this point, please. Where I’m going is that there are other things that are fun, too. Like, there’s going to karaoke night and singing the one song you’re kind of able to sing with mostly the right tones and pacing. That’s fun. So is making clicking noises back at a squirrel who seems to be trying to work out what your deal is. That’s fun. Again, if you want to do that.
But here’s where I’ve gotten. All these kinds of fun are very different activities. You can’t swap one out for the other without noticing that something is very different. One could not mistake chatting with a squirrel for talking about how you can’t imagine someone riding anything where you go upside-down. That is to say, fun is not fungible.
And so continues my lifelong discovery in adulthood of, oh, yeah, that’s why everybody treated my like that in middle school.
Because how would I possibly send either of them a message except on Twitter, e-mail, texting their phones, or calling them, or maybe mentioning to my father so he could send them a note on Facebook? Anyway, the noon news had a quick report about the new-ish roller coaster at Cedar Point amusement park. (They built it using the bones of an old roller coaster is why the “ish”.) In going to break, the news anchor mentioned that the park opens for the season May 5th. And then, teasing the weather report coming up, said that it looks this could be a great weekend to go to Cedar Point. And I don’t know whether they mean because it’d be fun to spend 48 hours with our faces pressed up against the glass window, making sad noises at a gardener who’s just trying to get some azaleas up and running beside the Midway Carousel.
Also they sent a reporter there for some publicity event. It’s the reporter they mention in their house ads as liking roller coasters, so, good use of your staff there. They had video of him on the new roller coaster, but the only person they actually quoted on-camera saying anything about it was somebody I don’t know who said of the ride, “It’s breathtaking. It takes your breath away,” which I admire for clearing the matter up once and for all.
Special Bonus Content!
So I wanted to use an inappropriate metaphor to describe a gardener putting in a funny-named plant. I wrote it out as “a gardener who’s trying to get some new azaleas debugged”, and then I realized, oh, wait. I stand by my decision to treat “azalea” as a funny enough name for a plant since for all I know it would be an appropriate decorative plant in an amusement park. I’m like 85% sure it’s a plant.
Loop The Looping Loop Looper: The Bicentennial Looptacular
1980s
Bobsled Ultragroove
1990s
Laser Gunpuncher 2000max
2000s
Death Kraken
2010s
Steel Death Kraken
Source: The Kind Of Motion We Call Heat: A History of the Kinetic Theory of Gases in the 19th Century, Volume 2: Statistical Physics and Irreversible Processes, Stephen G Brush.
I’m feeling in a talk-about-cartoons mood so why not look to the Fleischer Studios’ Talkartoons? These were a string of 42 sound cartoons that the Fleischer Brothers made from 1929 to 1932, and it’s where Betty Boop made her debut. She’s not in this cartoon. It’s easy to suppose the Talkartoons were made in response to Disney’s Silly Symphonies series. I’m not sure that’s the case, though. This installment, for example, doesn’t have any particularly strong song component. There’s music throughout, of course. It was 1929; if you weren’t putting sound into your cartoons you were hopelessly behind the times, or you were Charles Mintz and too cheap to do sound. And I’m not even sure that’s true.
In any case Leonard Maltin’s Of Mice And Magic cites a June 1929 trade advertisement for the series. The first Silly Symphony came out in August 1929, and while every animation studio tried to copy Disney, it’d be a bit ambitious to plan the copying of something that hadn’t come out yet. Here, originally released the 25th of October, 1929, is Noah’s Lark.
So, some thoughts. First is that I think this short predates the use of animation cels. For most of the 20s the Fleischer cartoons were illustrations done on sheets of bright white paper. The advantage of this is that if you only need to move a small part of the scene — like the monkey’s arms in that scene about 1:15 into the short, or the hippopotamus singing while his chest tattoo moves at about 1:35 — you just need to draw that fragment of art and put it over the base. On many silent cartoons you can even see the tear lines of the paper.
Second: the title actually parses. I was thinking through the first half that they’d done the most obvious humorous variant on the common phrase “Noah’s Ark”. But by bringing the action to Coney Island — Wikipedia says Luna Park, but I don’t know how they can pin it down to that, given that there’s no particularly iconic rides on display — they justify calling it a lark. Good, then.
That fun old-style stretchy-squashy-playing with geometry: I like the ship’s portholes bouncing around merging together to let the elephant out. Also the … magpies? Crows? Possibly penguins? … at about 2:22 in that need three of them with bicycle pumps to unflatten their comrade.
The Suspiciously Mickey Mouse-like character enters into this cartoon at about 5:00 in. The Blink-And-You’ll-Miss-It gag with the best laugh was on the carousel at about 4:50 for me.
There’s a recording of The Stars And Stripes Forever in here that I wonder if they didn’t use in the first couple Popeye cartoons as his post-Spinach action music.
Does this short have an ending? … I suppose so. The idea that the animals are out on Shore Leave does contain the implication that Shore Leave has to stop, so there’s a tolerably set-up conclusion to the short and a reason for the final scene to happen. I’ll allow it, but I’ll listen to contrary opinions.
Recently I got to visit Story Book Land, a small nursery-rhyme-forest and amusement park in Egg Harbor Township, New Jersey. Also there’s a place called Egg Harbor Township, New Jersey. Yes, it has that name for the reason you’d expect: it’s a township. Story Book Land is a grand place, lots of displays of fairy tales. So this Santa Claus’s Workshop scene caught my eye:
A lot of Story Book Land’s displays have moving parts and buttons along the walls that kids can press. The buttons here make the deer up front move the pencil back and forth, and I think the reindeer in back pats at the adding machine. (I just grew uncertain as I wrote this.) If you need to keep a kid amused, put lots of buttons in walls they can push. The Roadside America model railroad in Shartlesville, Pennsylvania, learned this years and was why as kids we insisted on going to it like forty times a month.
Clearly I’m not in a position to tell Santa how he should run his business, and I shouldn’t disparage anybody’s qualifications before I know what they’re good at and what they like doing. It just seems a little cruel to give a lot of writing duties to a species that hasn’t got fingers. And I’m not too sure it’s considerate to put a reindeer on adding machine duty either, given, again, the whole hoof issue. Maybe Santa knows something I don’t. I just expect there’s all kinds of dropped … things, and probably shouting, involved.
Also I wish I had the courage to go to work wearing outfits like these reindeer do. And I work from home.
Another Blog, Meanwhile Index
The Another Blog, Meanwhile index rose four points in trading, and then fell right back again. Then it dropped four points, and rose the four points to right where it started. Analysts credit this movement to the purchase of a new swingset. Surely someone has purchased a swingset, somewhere, at some time, right? Sure.
I don’t mean to disappoint. It’s just that my love and I have been busy the whole last week, visiting small amusement parks and giggling at mistakes in their signs. I should say we’re not doing this maliciously. We go in expecting we’re going to have a great time, wearing the T-shirts for other small, obscure amusement parks, sometimes on other continents. And we do have a great time, because there is a real delight in a small park where they’re still going on about how they put in a frog jumper ride in 2011, and at any moment you might blink and be in the middle of a swarm of up to forty kids, some of them reaching up to the lower end of your knee, in a screaming birthday-cake riot. But the point is I haven’t had the time to write anything amusing and I apologize for that. Here’s my mathematics blog writing about comic strips yesterday. Thanks and I’ll be back to normal not tomorrow because that’s going to look at the June statistics. But sometime or other. You’ll know it when you see it.
Another Blog, Meanwhile Index
The Another Blog, Meanwhile index rose above 200 which is being treated as a great triumph for the long investors what with this being index territory nobody has seen in two days. Well, if it makes them happy, good. They can deal with it.
So you live in a utopian future. You don’t have anything to be embarrassed by there. It’s a pretty sweet deal. Maybe it wasn’t you that was embarrassed. Maybe it was someone who reminded me of you. It would help if we could get some name tags or distinctive ribbons or something. Anyway, even in a utopia there’s no getting away from some civic responsibilities. At any moment something like one-eighth of our population is busy introducing the place to an outsider. Are you ready?
Maybe you’re wondering where they come from. The answer is, all over. Some of them are people from before the utopia who got themselves caught in cave-ins, or were put into stasis until medical science found a cure for painting bricks. Some of them are from alternate timelines, like one where Belgian visionary Paul Otlet and his electric telescopes failed to manifest the Mundaneum in Lakewood, New Jersey in 1934. Maybe they’re dreaming, as far as they can tell, and there’s no sense waking them up before you figure out which of us is real. Ooh, maybe they’re aliens, so we can be their aliens, and add this neat little mirror-image chic to things.
Really it doesn’t matter. Any visitor to utopia has some things they just have to know. And they have some expectations. Meet them, and they’ll be happy with the experience. They’ll need to be told they are in a utopia, straight off. Hide that and they’ll never be happy. And they’ll need a couple rounds of origin-shaming so they appreciate how their homes made serious dog’s breakfasts of things. That’s an easy sell because people find it charming to hear “dog’s breakfast” as a metaphor.
They’ll want to have a tour, once they’ve been electro-taught the universal language or just happened to know it anyway. You’ll want to take this on foot. It makes stuff seem bigger. I recommend taking them to one of those middling-size buildings made with that brick cladding that somehow looks like fake bricks even though they’re real bricks. Try to approach from the side that’s the least architectury. Then go into something about how it’s the administrative district’s largest facility for producing psychoneutral brick or self-motivated gelatin or fully interactive quadrophonic squirrels or whatever. To make a convincing presentation remember the important two elements:
A bunch of statistics delivered in obscure units. Try saying something like `modules over 20.38 centipoise per millikatal hectosievert’ or `response metrics as sensitive as 12.10 decatur-centidays’ until it sounds kind of normal-ish. `400,000 mease of herring each compline’. `0.2 adrianople-ceston-centiMcClintocks.’ Something like that.
A moving sidewalk. You can find some at most airports, many train stations, and the occasional shopping mall.
You’re going to get the occasional visitor who’s looking for social satire. By “social satire” people mean everyone talking about how their enemies were fools and their heroes visionaries. This is tricky to do before you know who their enemies and their heroes were. You can make some wild guesses and if they react with horror say that you were just testing to see if they were ready for the true order of things. You’ll want to practice that with friends before doing it live. Also bring some gift certificates for ice cream or something so you can act like you’re giving a special award for their figuring it out. Some weird flavor, something hard to like. They’re not coming all the way to utopia just to get fudge ripple. They’re looking for something with a bit of freaky to it. In fact, don’t just do this for ice cream. Every day try to find two or three little things to freak up a bit. It’s surprisingly fun once you get the hang of it and it makes their experience so much better. It’s kind of an important rule for life.
If you still can’t get a handle on them, try some patter about how gold and silver make the throw pillows of utopia all the more throw-pillow-ish. Your guests will make what they want out of this, and if they ask you to expand on it pull the old “what does that tell you about us?” routine. You’re not going to believe how well this works.
Sometimes you’re going to get the visitor who’s decided utopia is actually a dystopia. There’s no arguing them out of it. They’re going to figure they’re the only ones who see it, and they have a responsibility to destroy society, which is supposed to somehow help. So you’ll want to have contacts with some local theater group. They should have a bunch of costumes and a couple people who can do improv work as an underground movement. Set them up with something harmless like bubble wands. Tell your visitor these are futuristic pacification weapons so that nobody’ll get unnecessarily hurt while they’re busy destroying society.
Now you’ll need to set up a story where the organizing impulse for all society comes from, oh, whatever. That closed psychoneutral brick factory nobody’s got around to tearing down yet. Send them off to attack it and after all the foam has evaporated — well, you know joy? Not really. Not the kind of joy you’ll see after they figure they’ve gone and obliterated society. It’s pretty sweet, really. After you do go along with this you’re going to have to listen to them blathering a while about how they’ve opened everyone’s eyes and how society is really and truly going to work this time. And some of them can go on forever like this. But whoever said life in utopia was perfect?
Another Blog, Meanwhile Index
The Another Blog, Meanwhile index rose eleven points on word that if everybody was good we might just go to an amusement park for the Fourth of July. Skeptics protest that major holidays are the worst time to go to amusement parks because everybody goes to them then, but they were shut down by that time on the 4th of July that we went to Great Adventure and literally got to walk on to the front row of Kingda Ka, and when does that ever happen?
The Another Blog, Meanwhile index fell by two points, but is counting that as a moral victory considering expectations were for it to drop by between one and three points.
I was reading the DC Comics Showcase of Metal Men, a band of 1960s superhero robots who are constantly explaining their premise to each other. Anyway, they take a blind kid from The City on a trip in space, the way superheroes just did in the 60s, and they find an amusement park on an abandoned planet, because again, it was the 60s. You just had Coney Islands on every cosmic body.
Anyway it turns out the Space Amusement Park is completely automated, but its automation accidentally space-glitched and got stuck on “evil” (or to be precise, “Space Evil”) and now all the rides are trying to kill you. They work out this must be what happened to the population: the whole world got killed by an evil Space Amusement Park.
Now, I understand the appeal of an evil amusement park. And even the appeal of one that threatens life and limb, because I grew up in New Jersey and we had Action Park. Everyone in my generation from New Jersey would like to tell you how we narrowly avoided death at Action Park, usually by drowning or smacking into something, sometimes just by bursting into flames after buying a hot dog or getting hit by a meteor while in the parking lot. A tenth of us will tell you how we technically speaking died there.
Thing is, as uproariously reckless as Action Park was, it didn’t come close to killing even North Jersey, never mind the whole world. If Space Coney Island really did kill its whole planet I think the park has only partial responsibility. At some point the local Space Ride-Inspection Space Agencies (“Spagencies”) fell down on the job. Also the Space Newspapers (“Spacepapers”) failed their public when they didn’t report on, like, the first 2.5 billion people killed by a wicked Space Ferris Wheel. I don’t think the Spacepapers would be needlessly spreading Space Panic at that point.
Anyway, the Metal Men escape the killer roller coaster and make it back to Earth, in the process curing the kid’s blindness two times over, because that’s just what the 60s were like. Better living through Space Chemicals.
Another Blog, Meanwhile Index
Another five points down and the trading floor is really sick of this, thank you. They’re ready to jut pack it all in if some good news doesn’t turn up sometime soon. They’re being petty, but just because they all bought at 152, a number they get really angry if you bring up anymore. They also don’t want “148” or even “135” mentioned so it’s all been merry calling out numbers to see what people are willing to put up with. Well, the short sellers are merry but they’re also getting kicked a lot.
So I was having this pretty nice standard-issue dream when I suddenly got a text message from The Left. That’s unsettling since I don’t really text-message and I’m not sure how I would get it. But then I had to get up and go to the bathroom. I guess that’s fine; I’m not sure what I would say to The Left. “I love when you work on stuff that tamps down the brutality of life?” I bet they get that all the time.
Meanwhile like a week ago my love dreamed we were in the San Francisco zoo and couldn’t think how we got that far away. The dream me couldn’t offer any answers. My love, looking for a rational explanation of why we’d be there, asked, “Have we been to any amusement parks this trip?” And the dream me answered, “No, I don’t think so.” And I love that the dream-me, like the real me, takes so much edge off anything he says that he’ll leave room for plausible doubt on the question “have you been to an amusement park on this trip?” That’s so me.
Another Blog, Meanwhile Index
The Another Blog, Meanwhile index suffered its steepest one-day decline yet, dropping 13 points or over 9.9 percent in a conversion to decimals that is not helping, Lisa. We would investigate the mood of traders more except they get all growly and bite-y as anyone approaches and for now it’s probably best if we just hope tomorrow has a little less bad news and DON’T BITE AAUGH.
I’m still recovering from the yard sale. Don’t worry, we made enough to cover the costs of running another yard sale someday. But as long as my mind’s elsewhere here’s a cartoon to occupy it. It’s a 1929 Inkwell Imps cartoon, produced by Max and Dave Fleischer. It’s titled Ko-Ko’s Reward and as you might expect it includes a bit of head-swapping, a girl entering the cartoon world, a haunted house, and an amusement park. Because of course.
Mixing live action and animation goes back to the birth of animation. It was also much of the point of the several cartoon series featuring Koko (or Ko-Ko) the Clown. That and getting Max Fleischer on camera, because if there’s anything animation directors/producers want to do, it’s be movie stars. The structure is normally one of Max drawing Koko and maybe Fitz the dog. Then they natter a bit, and Koko escapes into the real world to make some mischief, and then he gets put back where he belongs.
That’s barely a structure, though. It’s enough to justify whatever the theme for the cartoon is and to give some reason for the cartoon to end at the eight-minute mark. The real meat is figuring some reason for Koko to interact with the real world, and for some free-form strange animation to carry on. Here it’s Max’s girl — I don’t know who played the part — getting lost inside an animated haunted house, giving Koko and Fitz reason to search for her in an amusement park. Well, these things happen.
Of course I’m fascinated by wondering what amusement park this is. I don’t know. I wonder if it might be Rye Playland, which had opened in 1928 — when the cartoon would be in production — and had the sort of kiddieland with a concentration of kid-sized rides such as the cartoon shows. But I don’t see any features that mark it as unmistakably Rye Playland, nor unmistakably not. None of the movie references I can find give information about shooting locations. I would assume they’d pick a park conveniently near the studio’s New York City location, but that could be Coney Island or Palisades Park at least as easily. Well, I don’t recognize the haunted house as anywhere I’d been.
![Gromp, tied up, on a palm-tree-deserted-island: 'What are you doing? Are you just going to leave me here?' Ooola: 'Yep.' Gromp: 'But I can't swim!' Ooola: 'I hope you like coconuts.' Gromp: 'I do! Especially shredded over a nice chocolate dessert. And the milk is divine! [ Noticing Ooola swimming away. ] Oh, very funny. Hey, how am I going to open them?!'](https://nebushumor.wordpress.com/wp-content/uploads/2020/10/alley-oop_jonathan-lemon-joey-alison-sayers_1-august-2020.jpeg)
![Einstein Two: 'I'd like to show you something. It's the culmination of the horrible hand that life dealt me. It's taken me nearly fifty years to build. I kept it secret from my parents until the day they died. [ Revealing a machine ] Ta-da! Behind the grand culture eraser! It will destroy all forms of art and culture, past, present and future.' Wonmug: 'This is LITERALLY what I was talking about before, when I asked about the Great Culture Famine.' Einstein Two: 'I guess they COULD be related, but I just don't see it.'](https://nebushumor.wordpress.com/wp-content/uploads/2020/10/alley-oop_jonathan-lemon-joey-alison-sayers_3-october-2020.jpeg)
Another Blog, Meanwhile 