Reference: Mythematics: Solving The 12 Labors Of Hercules, Michael Huber.
Soundtrack recommendation: a little piece by Sparks.
Wow, feels like forever since I did a cartoon here. Messin’ Up The Mississippi is a 1961 Paramount Cartoon Studios-produced short. Story by Carl Meyer and Jack Mercer and directing by Seymour Kneitel, almost the team you’d expect if you just knew it was a Paramount cartoon.
I don’t know why this is set on a showboat. Like, what about this cartoon couldn’t be done at any theater in any town? The only joke here that would need to be rewritten is Brutus’s comeuppance, where he’s forced to run along the paddle wheel.
This isn’t to say the cartoon is wrong to set things on a showboat, or to set it in some generic Mississippi River town. It’s that Meyer and Mercer decided they wanted this set on a showboat for some reason, and that reason isn’t obvious in what came out. Did they discover in writing there weren’t any good story bits to do that involved the boat? Or at least weren’t bits that they had time for, once the essentials of the plot were out of the way? Or did they want nothing more than to give Mae Questel the chance to try a Southern accent?
The plot’s all good enough. It’s almost archetypical for a particular kind of Popeye cartoon. Popeye’s a performer, Olive Oyl the manager, and Brutus is the stagehand and janitor and ticket-taker and all. He’s jealous so figures to sabotage the act and take Popeye’s place. The sabotage works long enough for Brutus to run on-stage in his caveman skin. But Popeye’s finally aware that he wasn’t tossed greased bowling pins by mistake. So, he grabs some spinach and lifts Brutus who’s himself lifting a whole lot of weights. Even juggles them with his legs, which is quite the feat. There isn’t a fight after this, not really; we just go to Brutus tied up and trapped on the paddle wheel. This supports the idea they just ran out of time for the premise.
It’s all done with the general, steady competence you’d expect from Paramount. It had much of the feel of one of the theatrical shorts. It’s certainly in the vein of Tops in the Big Top, where Popeye and Olive Oyl are circus acrobats. In that one Bluto’s the ringmaster, and has only jealousy of Popeye’s relationship with Olive Oyl to motivate him. Here he’s motivated by a desire for celebrity. So it’s the unusual cartoon where Brutus isn’t interested in Olive Oyl. Just in being on stage.
Yes, I did see the official video for Sparks’s new song, The Existential Threat. If you’d like to see it, it’s here. Content warning: the animation has the style of 70s-underground-comix grand-guignol body horror. Consider whether you’re up for that before watching. I’d recommend listening anyway.
With that wholly unrelated topic taken care of let me get to business. This plot recap gets you through early July 2020 for Francesco Marciuliano and Mike Manley’s Judge Parker. If you’re reading this after about October 2020 there’s likely a more up-to-date plot summary at this link. I’ll also put any news I have about the comic strip at that link.
I’ve put on hold the reading-comics part of my other blog. I am still writing stuff, though, with the focus being an A-to-Z glossary, one term for each letter, publishing over the course of the year.
Yes, it’s hard to remember as long ago as mid-April. Let me try anyway. Neddy Spencer and Ronnie Huerta’s series, based somehow on April Parker, had started filming in Cavelton. Sophie Spencer crashed filming, protesting Mayor Sanderson’s politics. And then Covid-19 hit the comic strip, the first of the story strips to address the pandemic at all. This was an amazing feat of work by Marciuliano and Manley. It has to have involved throwing out completed work to rush stuff out at deadline.
Neddy and Sophie barely start arguing the dragging of politics into decisions about how to spend public money when the show shuts down. Part of the lockdown, in the attempt to contain the pandemic. Ronnie stews about how she can’t even see her new girlfriend Kat, who’s to play Neddy on the show. And then Neddy’s ex-boyfriend Hank calls. She fumbles over the conversation, talking more and more enthusiastically than she would have thought. Why did Hank call? Why was she eager to talk to him?
Well, because of the pandemic. Everybody we know got locked in the Total Perspective Vortex. Enough of that and you start to ask, “was I really so upset with this person that it’s worth never having anything to do with them again?” You’re going through it too. Remember that you had reasons, and think about whether those reasons are still things of value.
Meanwhile in changing values: Honey Ballinger drops out of Toni Bowen’s mayoral campaign. She had joined Sophie’s plans for Bowen to do something meaningful, working therapy for her post-kidnapping stress. But now, with even the candidate not that enthusiastic, and the world shut down? She wants something else. The collapse of Sophie’s campaign-manager ambitions sends her talking again to Abbey. They had fought over whether Sophie going to college even meant anything after the kidnapping.
Meanwhile, Alan Parker’s mayoral campaign hits a problem: he and Katherine have Covid-19. While both look to recover, Alan Parker acknowledges he doesn’t want to be mayor enough to take him away from his family, whom the virus keeps him away from. He calls off his campaign, endorsing Toni Bowen on the way out, to her surprise. And to Sophie’s rejuvenation. She can’t wait to get the campaign going again.
And things are a bit tough for the Drivers. Sam Driver hasn’t got any lawyer work, and Alan Parker hasn’t got a campaign to manage anymore. Abbey’s bed-and-breakfast, finally completed, was ready to open as the lockdown hit. It’s cut into their finances. Abbey mentions how they were hit hard when they had to sell on the stock market, which is interesting. I mean, I know I’m bad at finance. I have two Individual Retirement Accounts, one a Traditional and one a Roth, because I could not figure out which was better for me. This way I’m sure to be at least half-wrong. But even I knew to put my spare thousand bucks into buying at crash prices. This is why I’m today the tenth-largest shareholder in Six Flags Amusement Parks. So how leveraged were the Parker-Drivers that they had to sell stocks into the crash?
And these are the standings, as of early July. I hope to check back in after a couple months to see what develops.
Oh, an exciting chance to check in on those “great new stories and art” for … oh. Yeah, King Features and Marvel haven’t got around to hiring anyone to write or draw The Amazing Spider-Man yet. So Roy Thomas and Larry Leiber’s reruns get another turn next week, and probably again three months after that.
Suggested soundtrack: Sparks, Academy Award Performance.
This week’s King Features Popeye cartoon is, it happens, directed by Gene Deitch, and produced by William L Snyder. There’s no story credit to it. Matinée Idol Popeye, another in the microgenre of cartoons where Popeye makes a movie.
Though I’ve called it a microgenre, there really aren’t many cartoons where Popeye is making a movie. At least one of the times he is, it’s a clip cartoon recycling one of the two-reelers. The benefit of doing a let’s-make-a-movie cartoon is you can put Popeye in any scenario without needing any setup or resolution. But, then, when have we ever needed a reason that Popeye should be in Ancient Egypt? It’s old-style cartoon characters. They could just do that.
The setup is Popeye and Olive Oyl making some Anthony-and-Cleopatra film. Brutus is director, sensibly enough. I’d wondered if this was a riff on the infamous Elizabeth Taylor/Richard Burton Cleopatra, and it seems … unclear. That movie, released 1963, had started production in 1958. So a 1960 cartoon could riff on it. But apart from its five-million-dollar budget what would stand out, in 1960, about the project? Probably it’s more generically a riff on that era of epic-style filmmaking.
We get early on some nice visual jokes. Popeye turning into a ham when Brutus accuses him of being one, that sort of thing. It reflects one of the good lessons of limited animation: if you can’t show complicated action, at least show a bunch of funny pictures. Brutus tries to woo Olive Oyl, taking out of his pocket a heap of flowers bigger than he is; that’s better than anything which would make physical sense.
The premise of the cartoon becomes that Brutus wants Popeye out of the way, but can’t fire him, so he has to get Popeye to quit or die. Bit gruesome, but, makes sense. We get the gag of Popeye’s head caught in a lion’s mouth, and him puffing his pipe to make the lion release him. That’s been done before; in the Famous Studios Tops in The Big Top Bluto even puts a slab of meat on Popeye’s head to ensure the lion tries to eat him. Here it’s just luck for Brutus that the plan starts to work. It’s a missed chance to make Brutus more villainous, but on the other hand, do we want Brutus to be that mean?
Brutus chuckles “that’ll be good for the end title” when a vulture rests on Popeye’s head. It is, and it’s a missed resolution that the end of the short doesn’t have the vulture on Brutus’s head. We get some nice and really exciting music as the elephant comes in. It raises questions about what the filming schedule for this film was supposed to look like. I wouldn’t want to try to shoot a lion and an elephant and a crocodile scene on the same day. Obviously Brutus is throwing stuff together in the opes of getting Popeye to quit, but he does seem to be filming all this. Without giving Popeye direction of what he should accomplish in the scene, though. If this were an actual film it would be a heck of an avant-garde piece. It’d have some weird verite-like style anyway. Brutus is optimistic to think this will win an Academy Award, but it will have a good shot at being a cult classic.
Brutus finally turns to just grabbing Olive Oyl, because he has not learned how people work yet. Popeye does a slick bit of crushing his can open by dropping a beam of wood on it; that gets us to the fight climax. More time’s spent on Popeye making a sphinx of himself than the actual fight. I’m curious whether they were trying to limit the violence or whether Deitch (or storywriter) thought that punching was the least interesting thing Popeye did. Before we know it, Brutus is harnessed and hauling Popeye’s chariot. This seems like it should violate a Directors Guild rule, but we have reason to think the production is outside proper channels, what with how there’s no other crew.
This isn’t a lushly animated cartoon and after the initial business with the ham it doesn’t get too fanciful either. It does well with what animation there is. And it avoids having too many scenes that look like police lineups. We get a lot of close pictures of characters’s faces, or from chest up. Not so many of them standing in a line viewed from afar. I regret that it doesn’t show off the experimental energies I was talking so much about yesterday. But sometimes a cartoon’s just executed successfully after all.
[ Translated from the gestures, modal dialogues, and inarticulate howls of boundless rage at my iPod Touch. ]
Me: OK, iTunes, resume.
iTunes: Happy to!
Me: …
iTunes: What?
Me: Resume my podcast.
iTunes: I didn’t know you had a podcast!
Me: Don’t ever talk like an online nerd. Resume the podcast I was listening to.
iTunes: Happy to!
Me: …
iTunes: What?
Me: Resume it now.
iTunes: Resume what now?
Me: That’s Grandiloquence. Three guys take turns pronouncing a word they only know from reading, and then get into a big argument about who’s least wrong. They’re doing their 40th-episode super-spectacular on ‘synecdoche’.
iTunes: What’s that word?
Me: ‘Synecdoche’.
iTunes: How do you pronounce it?
Me: Almost certainly wrong. That’s why I want to hear the podcast.
Continue reading “One Excerpt From The Me/iTunes Conversations”
I want it clear that I am not being kept awake at night by this thought. I have better things to steal my precious and sorely needed moments of rest from me. But I do have this thought coming. You know how the Voyager spacecraft have some gold-printed records with sounds of Earth, everything from children laughter to greetings from Jimmy Carter to Chuck Berry music, on them? Suppose it is ever picked up by aliens who figure out what the record is and the basics of how to play it. How do we keep them from playing the record backwards?
I know, I know, there’s supposed to be instructions on how to play it that we think aliens clever enough to grab a space probe will be able to work out. But I also know that humans are fantastically sucky at coming up with instructions for things. There’s packages of macaroni and cheese with instructions I find intolerable ambiguities in. Communicating how to set up and play a record to creatures with presumably no understanding of human norms? There’s no chance we’ve gotten that anywhere near right.
And all right, so it won’t be a big problem if a quarter-million years from now some aliens we don’t even know yet hear Chuck Berry backwards. And even if they play the record the right way around we won’t know that they won’t mishear things and come to Earth looking for more Chuck Barris. That’s at least something we get for the bother of being mortals.
Also, you know what? You could use a little Sparks in your life. Enjoy.
I spent most of yesterday watching Twitter friends, none of whom know each other, talking about Eurovision. And that was fun. Since I wondered why Australia was in it I went to DuckDuckGo because yeah, I’m that kind of guy, and started asking the question. This led to this fine selection of autocompletes:
I appreciate the joy of that sixth one particularly. Anyway, it seems that Australia was in Eurovision 2015 because everyone involved thought that would be nice. And then they were brought back in 2016 because everyone figured that worked out so well last time why not do it again? There are much worse reasons for everything everybody does.
My love mentioned getting the Eurovision question as an autocomplete after just entering “why is au” on Google. So I thought to try it on DuckDuckGo and while Eurovision didn’t turn up, “why is autonomy important” did. This suggests DuckDuckGo’s user base is much more likely than Google’s to be a bunch of Intro to Philosophy students cramming the night before finals.
Also there’s people who had to look up why Australia would be called Oz, because apparently they’ve never said the word “Australia” aloud in their lives? I don’t know either.
What’s playing at Karaoke Night:
Here’s some writing I couldn’t make good use of in October. If you think you can, you’re welcome to it. NaNoWriMo participants especially welcome to these chunks!
“I can’t put food in your bowl if you don’t get out of the way,” I told our pet rabbit.
“This is more important,” he said back, and don’t think that was something I expected to hear him say. I’ve seen him judge getting food as more important than sleep, not going up the stairs, getting out of the pet carrier, and eating what he already has.
So I kneeled down to about his level and said, in my most sincere voice, “What’s wrong?”
He stood up on hindpaws and looked left and right, and in a soft voice said, “Am I big?”
I nodded. “You’re quite good at being big. You’re bigger than I was through fourth grade,” which is my normal hyperbolic answer, since he’s only actually bigger than I was through third grade, when I grew considerably thanks to discovering if I was quick about it I could have two bagels for breakfast, lunch, afterschool snack, and dessert.
“But that’s still big, right?”
“Oh, yes. Quite.” He’s a Flemish giant, a genre of rabbit that’s known to grow to as much as 26 feet long not counting ears and whiskers, although he is a smaller example of the breed.
He pushed his head into my hand. “And I’m not getting any smaller, right?”
For once I had a flash of this thing I think the humans call empathy and didn’t say he wasn’t going to start shrinking for another year or two. “Not a bit. You still are remarkably big.”
He dropped back down. “Then why didn’t he?”
“Why didn’t who what?”
“Why didn’t he remark?”
“Which he?”
“The one you had in to come make all that noise on the ceiling!” A couple months back we had some roofers come over. They replaced the nearly four square feet of perfectly good shingles we still had on the house, as well as a bunch of others that looked like someone had spilled a deck of cards into a nauseated food processor, and put on a bunch of new ones in a different color. From inside all you could really tell is there was a lot of noise from up top and then stuff being thrown into the driveways, which might have got us in trouble with the neighbors except they were going through a monthlong stretch of having just vanished. We still don’t know about that.
“The roofer? He only came in to talk about the work, give us an estimate. What did he do?”
“He didn’t remark! He didn’t say anything about how big I am!”
“Everybody who comes into the house mentions how big you are. I would’ve thought you’d be glad for a change in the conversation.”
“But he didn’t say anything! What if I’m not … big?”
I sat down so I could better pet his head, which he likes, and his back, which he supposes is better than nothing, most of the time. “But you are. You’re the biggest rabbit I’ve ever known personally. You’re big enough you could — ” and I thought better of mentioning how he could easily yoink the remote control off the coffee table if he really wanted, because I didn’t want to encourage that — “probably push me over if you tried. You’re so big we joke that the Sparks song `Big Boy’ is about you.” And that’s true, although the Sparks song is really more a chipper tune about the Biblical story of David and Goliath and I didn’t want to mention how Goliath probably didn’t care for how that story came out.
“But why didn’t he say anything?”
“Well, maybe he didn’t notice you. He was only in the living room a short — a little — a brief while, and he was thinking of shingles and maybe rain gutters at the time. That throws off your ability to notice rabbit bigness.”
“If he didn’t notice me how big can I be?”
“Aw, bigness isn’t any guarantee you’re going to be noticed. I’ve seen things many times your size that I never noticed,” and he looked at me the way he does when he suspects I’m imitating his chewing. “I mean until they were pointed out.”
“Would you tell me if I wasn’t big?”
I rubbed his ears. “I promise. Look, you wouldn’t be nearly so scary to squirrels if you weren’t big.”
He rubbed his chin on my knee and hopped off to nibble on some hay, apparently soothed. I left the room, crawling on my knees.
And now to return to the very funny question of how well-read I was in the month of July. The answer is very well indeed: I had my most popular month on record according to WordPress. My total number of page views climbed from June’s 495 to fully 704, the highest on record, and the number of unique viewers rose from 181 to a just plain enormous for me 332. I’m stunned. There’s three months since I started the humor blog that didn’t have 332 views total, never mind unique viewers. (The views-per-visitor dropped from 2.73 to 2.12, but that’s still respectable, suggesting most folks who stop in find at least something else worth reading.) By the end of July I’d gotten a total of 7,187 pages read.
The countries sending me the most readers the past month were the United States (562), Australia (34), the United Kingdom (32), and Canada (20). I got only a single reader each from Belgium, Denmark, Germany, Greece, Hungary, Indonesia, Kuwait, Mexico, Oman, the Philippines. Indonesia and the Philippines were single-reader countries last month too. And India, which I worried about for sending me just one reader in May and June, found three people who could find me not perfectly repellant in the past thirty days. That’s not so good on a per capita basis as Portugal (two readers), but, really, it’s an honor just to be nominated.
The five most popular postings this past month were:
I should say, though, there’s 21 different posts which got at least ten viewers the past month, which I believe is a high but I didn’t track that before. This is just something else I can start neurotically following, isn’t it?
Some popular search terms bringing people here include:
Have you ever had to put together one of those movies-in-the-park thing, where they set up a screen and a projector and sometime after the summer dusk sets in you show the kind of movie that attracts flocks of kids who take time out from their normal activities to run up to the projector and fiddle with the buttons? According to the crafty movies-in-the-park manager in my recent dream, that’s just fine. You have to set up an actual projector that handles the movie, and then put up a dummy right prominently in the middle where anybody can get at it. This one isn’t hooked up to anything, but if the film has any irregular things to it at all — like in the good old days of actual reels where there might be a momentary cut or something — it’s all right because the kids will figure their fiddling with the buttons caused the jump cut.
Apparently the crafty movies-in-the-park learned this trick from the years he spent organizing the shows for REO Speedwagon, who apparently couldn’t keep their hands off buttons either. This is almost certainly the closest brush with musical fame I’ve had in my own dreams, but I should point out that in the dreams of someone very close to me, I was doing pretty well with Russell Mael of Sparks.
You maybe remember a while back I got to wondering about the 1977 disaster film Rollercoaster. There’s a scene near the end where they needed a rock band, and apparently the producers’ first hope was that they’d get Kiss to play the scenes. Somehow that didn’t happen, and they got Sparks instead, because Kiss and Sparks are very similar bands what with having two S’s and on K in both their names.
It turns out that according to somebody or other on the Internet Movie Database, which is the soundest citation possible not involving “forwarded in e-mail from your grandmom”, the producers also considered at some point having the Bay City Rollers perform. This is obviously a huge departure what with that band having only one S and no K’s to speak of, and makes me wonder if the producers even knew what they were looking for. It’s almost like they figured once they had roller coasters everything else would just fit, whatever letters they had. I don’t know.
My Dearly Beloved was reading over my little warning from the dream world, about racing whilst under-clad into Target to catch my father before he makes a terrible mistake about buying milk as the music of odd group Sparks plays on the public address system, and it turend out, didn’t understand something, so I felt I had to clarify. Yes, the dream happened as such.
But the important thing is: this wasn’t a humiliation dream, the kind where you go out in public and everyone starts laughing at you, or you realize you’re doing something that brings eternal and unending shame upon you, like misremembering which manufacturer produced the Intellivision game console. (None did. It simply appeared, from space, for a time, and then supplies stopped, which was fine because the unknown entities producing it also gave us the video game Frog Bog for which they should feel embarrassed.) No. Running through Target in nothing but underwear and maybe a T-shirt does not here produce embarrassment; it just produces a sense of frustration that people keep pointing this out to you, as if you weren’t aware, and as if the path to my father wasn’t going to take you through Men’s Wear (or, if you prefer, Women’s Wear) anyway so you could put on something sensible then if the milk situation didn’t require fast action.
I apologize to anyone who has, in the past couple days, found themselves in the parking lot of Target with my father sorting out the salad dressings and other contents of their car’s trunk-kitchen and raced in without enough clothes on and found themselves incorrectly embarrassed when they should be mildly irritated at others.
According to my subconscious apparently this is an important problem, so, let me put the advice out for anyone who finds themselves in this situation:
If you ever find yourself with my father in the parking lot of Target, and we’re working out just which of the bottles of salad dressing in that little cubby-hole we used to use for storing compact discs back before everyone got over compact discs still have any salad dressing to speak of in there, and he goes in to buy new salad dressings, and you go around back to the trunk and discover the milk in his Toyota Something Or Other is not spoiled after all, despite how hot a day it’s been, plus there’s like a third of a bottle of light vinaigrette left and you need to rush in to warn my father about this, then, remember to put on some pants and a shirt. Even if you’re just rushing in through the pharmacy door to get word to him, people are going to pay more attention to your running through Target in your underpants with a carton of unspoiled milk than they are going to notice that the speaker system is playing songs from Sparks’s 1974 album Kimono My House.
I just hope we can all take a valuable lesson from this, and that is, to not put the vinaigrette in that weird cubby-hole underneath the stereo where nobody knows what’s supposed to go in but it accumulates old papers and unneeded receipts anyway, because it’ll spill all over the papers you don’t need.
Almost none of you have heard me sing, and that’s a good thing. While I’m tolerably able to follow along most of the generally accepted words of a song if they’re written out for me ahead of time and can begin and end such words at approximately the right times, I have pretty much the same control over my pitch that a coal-fired locomotive engine has over its position. My voice will pick a note that’s the designated note for the song, even if it doesn’t appear anywhere in the actual song or possibly in all of recorded Western Civilization-informed music including those horrible atonal experiments made by pressing Moog synthesizers under piles of stones until they confessed to witchcraft. It might vary a little around that note as the song moves through its normal melody, but it won’t get more than maybe two-thirds of the way to the flat version of whatever note I started from.
So what I do instead is to hum along to a song, which besides meaning I don’t have to actually get the words right, means I don’t have to go to the trouble of opening my mouth any. But I have the same thing where I have one designated note for each song, and stick to that. What comes out is a tolerably timed “Hmm HMMM hm HMM Hmmm, Hmm HMMM hm HMMMMM, Hmmm Hm-mmm-MMM-MMMMM hmm HMMMMM-hmm-HMMMMmmmMMMM” [*]. It’s quite the monotone spectacle.
Anyway, all this is a way of saying I was stunned to get a special musical achievement award from the American Radio Relay League, the people who bring you ham radio, for my work in translating music into Morse Code. I’m flattered and I’d like to thank everyone who had a part in letting me achieve this, as soon as I think who that could really be.
[*] Original lyrics by Sparks, 1975.
I got to go to a concert last week by Sparks. They’re a great pair, with wonderfully playful music and intricate lyrics and an odd sense of humor. Even better, they played one of the songs that they performed in their big-screen debut, the 70s thriller/disaster movie Rollercoaster, which is one of the nearly more than one big-screen movies about amusement park safety inspectors.
The thing with that movie is, really, what the heck was Sparks doing there? Why were they brought in as a band to play the opening day of a new amusement park instead of, say, a band that doesn’t have catchy tunes with accurate titles like “So I Bought The Mississippi River” or “Everybody’s Stupid (That’s For Sure)” or one about the guy who’s the stunt performer for Gone With The Wind and had to do that tumbling-down-the-long-staircase scene all day long but doesn’t really know what the movie is about? A band that would go on to record a musical titled The Seduction of Ingmar Bergman and write “Lighten Up, Morrissey”? Why did they want Sparks’s “Big Boy”, about David and Goliath, in their film?
Wikipedia as ever can explain without explaining, in that the movie makers had wanted to get Kiss, but couldn’t, and so went to Sparks. This implies one of two things, though: either they had a list of potential bands for the film in which Kiss and Sparks were grouped together — and then either the list was “1. Kiss. 2. Sparks” or else there was another band that fit on the list between those two — or else, when the Kiss deal fell through the movie producers wandered, forlorn, through the streets of Los Angeles, thinking of their imminent professional doom, until someone ran out from the record store, clutching a copy of Kimono My House, and shouting, “Mister Levinson! Mister Link! I’ve got it! I’ve got it!” And they went to the record store’s listening booth and looked at one another and said, “Yes, this is the band we need in Sensurround”? Neither way seems plausible, but something like that has to have happened.
