The “Christmas single” phenomenon is unknown in the U.S., unless you’ve ever watched Love, Actually.
It’s sort of the “Black Friday” of the British music industry. Since so much music is sold (or, at least, used to be) during the holiday season, having the #1 song on the charts during that time gives one lucky record company a financial boost.
After Slade took the top spot in 1973 with their “Merry Xmas Everybody” — beating out “I Wish It Could Be Christmas Everyday” by Wizzard — “an emotional attachment to the Christmas countdown has developed, and for many [in the United Kingdom], it is part of the fabric of their childhood.”
So I doubt many American readers care that there’s a campaign to get Iron Maiden’s old chestnut “The Number of the Beast” to the top of the charts in time for Christmas, “for a laugh.”
What’s really funny (sort of) is that, during the early 1970s, such a campaign would have been denounced on the front page of every British tabloid, and remarked upon within American newspapers’ “entertainment” sections, at the very least.
Because culture-watchers would see it as yet another sign of the satanic takeover of the culture, and the world — the one I wrote about last week.
My last post (“May the Farce Be With You“) drew 280 comments, most of them infuriated, and most of them ill-informed. By way of remedy, I repost below an April 4, 2007 review-essay on J.R.R. Tolkien’s novel The Children of Hurin. My literary friends point out that Tolkien’s style is turgid and his literary muse is lame. I don’t care. No writer in the English language did more to uplift popular culture. Star Wars, I observe, derives from Richard Wagner’s noxious Ring cycle by way of the odious Joseph Campbell, and had a corrupting effect on the culture. The contrast with Tolkien is instructive. Rather than remasticate the pagan idea of the hero, Tolkien created a pagan anti-hero (specifically, an anti-Beowulf and anti-Siegfried) in the tragic figure of Turin. Reconstructed from manuscripts by Tolkien’s son Christopher, the Turin story sheds light on the broader purpose of The Lord of the Rings, and illuminates the fraught relationship between the pagan and Christian worlds.
Many readers objected to the way I threw Harry Potter into the same kettle as Luke Skywalker. A qualification is in order: J.K. Rowling stole from Star Wars as well as from Tolkien (and of course from Thomas Hughes), so that one can read a variety of different standpoints into her work. They all are there, in unhappy cohabitation.
The Children of Hurin, by J R R Tolkien, edited by Christopher Tolkien
Reviewed by Spengler
J R R Tolkien was the most Christian of 20th-century writers, not because he produced Christian allegory and apologetics like his friend C S Lewis, but because he uniquely portrayed the tragic nature of what Christianity replaced. Thanks to the diligence of his son Christopher, who reconstructed the present volume from several manuscripts, we have before us a treasure that sheds light on the greater purpose of his The Lord of the Rings.
In The Children of Hurin, a tragedy set some 6,000 years before the tales recounted in The Lord of the Rings, we see clearly why it was that Tolkien sought to give the English-speaking peoples a new pre-Christian mythology. It is a commonplace of Tolkien scholarship that the writer, the leading Anglo-Saxon scholar of his generation, sought to restore to the English their lost mythology. In this respect the standard critical sources (for example Edmund Wainwright) mistake Tolkien’s profoundly Christian motive. In place of the heroes Siegfried and Beowulf, the exemplars of German and Anglo-Saxon pagan myth, we have the accursed warrior Turin, whose pride of blood and loyalty to tribe leave him vulnerable to manipulation by the forces of evil.
Tolkien’s popular Ring trilogy, I have attempted to show, sought to undermine and supplant Richard Wagner’s operatic Ring cycle, which had offered so much inspiration for Nazism.  With the reconstruction of the young Tolkien’s prehistory of Middle-earth, we discern a far broader purpose: to recast as tragedy the heroic myths of pre-Christian peoples, in which the tragic flaw is the pagan’s tribal identity. Tolkien saw his generation decimated, and his circle of friends exterminated, by the nationalist compulsions of World War I; he saw the cult of Siegfried replace the cult of Christ during World War II. His life’s work was to attack the pagan flaw at the foundation of the West.
It is too simple to consider Tolkien’s protagonist Turin as a conflation of Siegfried and Beowulf, but the defining moments in Turin’s bitter life refer clearly to the older myths, with a crucial difference: the same qualities that make Siegfried and Beowulf exemplars to the pagans instead make Turin a victim of dark forces, and a menace to all who love him. Tolkien was the anti-Wagner, and Turin is the anti-Siegfried, the anti-Beowulf. Tolkien reconstructed a mythology for the English not (as Wainwright and other suggest) because he thought it might make them proud of themselves, but rather because he believed that the actual pagan mythology was not good enough to be a predecessor to Christianity.
“Alone among 20th-century novelists, J R R Tolkien concerned himself with the mortality not of individuals but of peoples. The young soldier-scholar of World War I viewed the uncertain fate of European nations through the mirror of the Dark Ages, when the life of small peoples hung by a thread,” I wrote in an earlier essay.  Christianity demands of the Gentile that he reject his sinful flesh and be reborn into Israel; only through a new birth can the Gentile escape the death of his own body as well as the death of his hopes in the inevitable extinction of his people.
Sometimes it takes an outsider to notice the confusion laced within a holiday message. When it comes to Christmas, the confusion is on overload. Somewhere along the way a religious message got smacked with a load of pop culture overtones to create a holiday lush with semiotic excess, too much for the brain or heart to process. So, allow me from my seat on the sidelines to create the How To guide so you can enjoy the perfect pop culture Christmas.
12. Shop early and shop often for things you’ll never need that are on sale at bargain basement prices.
Christmas really begins on Black Friday, or 6 p.m. on Thanksgiving, whichever you prefer. The holiday is about buying to your heart’s content and making sure everything you and your children have ever dreamed of is stacked up under that decorated tree. The bruises and broken limbs you get in pursuit of those awesome sale prices will be well worth it. Who needs teeth when they can have stuff?
The Drudge Report remains one of the most accurate barometers of what’s happening right now.
But can we augur near-future trends by sifting through that site’s headlines?
Lately, Drudge has posted lots of news stories about “the devil” and “exorcism”:
Camera captures exorcism performed on shrieking woman “possessed by devil:
Church Turns to Exorcism to Combat Suicide Increase… Archbishop: “Satanism has spread among young people”
BILLY GRAHAM: In Our “Lawless and Wicked Age We’ve Taught Philosophy of Devil”
Aside from the uptick in stories like these, I’m not sensing a resurgence in interest in all things diabolical, a new version of the “occult” fad that helped make the 1970s so miserable, and led to the “satanic panic” of the 1980s that was almost as bad.
Peter Bebergal doesn’t agree.
According to him, “we’re currently experiencing ‘an Occult Revival in rock music and popular culture.’”
He’s penned one of the year’s most talked-about books, Season of the Witch: How the Occult Saved Rock and Roll.
“My argument is that the spirit of rock and roll — the essential rebellious instinct of rock and roll — is certainly social and sexual and political, but it’s also a spiritual rebellion,” Bebergal explained. “And the way in which it expressed that spiritual rebellion was through the occult imagination.”
That “occult imagination” conjures everything from Ouiji boards to Christian and Jewish symbolism to LSD trips to “alternative spiritual practices.” Bebergal says it ultimately helped rock bands like Led Zeppelin, Pink Floyd and Black Sabbath save rock from sounding too poppy, sappy and mainstream.
This past week a group of scientists from the European Space Agency landed a spaceship on a comet. Contemporary feminists commented on the happening, but not for the reason you’d think. Screw science. One of the guys on the team talked about the major breakthrough in an on-the-spot interview while wearing a shirt with barely-clad, busty women brandishing guns. Social media chaos ensued. The scientist cried out an apology over the Internet. Apparently the rather clever hashtag #shirtstorm is the real reason why Obama cancelled the space program.
And you wonder why Lana Del Rey would rather spend her time talking about Space-X and Tesla instead of associating herself with the pioneering movement for women that has turned into a forum for Dunham-loving yuppie nags. Celebrities are distancing themselves from the f-word because so-called feminists think the greatest thing they can do for womankind is to complain about a scientist’s tacky shirt. I’m sure that really inspired a teenage girl out there to forego joining ISIS and join in the fight against… dudes bearing busty broads?
Debbie Harry’s ex-boyfriend and Blondie co-founder Chris Stein has just released a photography collection, featuring his lifelong muse.
And why not? No less an authority than rock photography guru Bob Gruen famously said, “You can’t take a bad picture of Debbie Harry.”
Unfortunately, Stein marrs the collection with a stunningly multi-level-stupid comment, regarding his famous picture, above.
UK tabloids don’t push the limits of credibility any more than their American counterparts, but in a way they got there first. Here, Debbie is reading about sexism under the ayatollah.
Get it? Decades of well-documented, sharia-inspired violence against women in Iran was probably exaggerated, according to Stein, because it was reported by a lower class “red top” English tabloid back in the 1970s.
Stein further ingratiates himself with his British host by slagging stupid, hysterical American “yellow journalists,” too, for no apparent reason.
Factor in the word “sexism” as his mealy-mouthed synonym for “rape, torture and murder,” and it’s quite breathtaking how much smug “enlightened” ignorance Stein managed to squeeze into two just sentences.
Especially the same week that Iranian authorities executed a woman for killing her rapist.
All this from a man I feel safe in presuming voted for Obama twice, and whose views on every subject are reliably, predictably “progressive.”
But of course!
In his 1970s prime, Cat Stevens looked like Russell Brand just thinks he does.
Neither fellow is quite forlorn or angular enough to be my type, but I can certainly understand the appeal of the former, if definitely not the latter. (Ugh.)
As Dennis Miller still likes to muse sometimes on his radio show:
Can you imagine how many women were throwing themselves at Stevens back in the day?
(Except not in those words.)
Stevens has been Miller’s bete noir for a while now.
And former folk singer Cat Stevens, now known as Yusuf Islam, came out this week and said he advocated the assassination of Salman Rushdie. So much for that “Peace Train” crap, huh, Cat? … Yeah, I could see this comin’ years ago on his old album, Tea for the Killerman. You, uh, you remember the big hit:
I’m being followed by a big Muslim
Big Muslim, big Muslim
Big Muslim, big Muslim
Big Muslim, big Muslim
How can I try to explain
When he do I turn away again
But it’s harder to ignore it
If they were right, I’d agree
But it’s them they know, not me now
There’s a way and I know that I have to go away
I know I have to go
Oh, baby, baby, it’s a wild world!
If you’re still operating under the false notion that pop culture doesn’t have a real impact on everyday life, take a look at America’s oldest example, Sleepy Hollow, New York.
When Washington Irving penned The Legend of Sleepy Hollow in 1820 under the pseudonym Geoffrey Crayon, he probably had no idea that his short story would inspire the beloved town of his youth to turn itself into a living homage to his tale. Settled in the late 1600s, the village was originally an agricultural and manufacturing zone of Tarrytown, New York. Nicknamed “Sleeper’s Haven” by early Dutch settlers, Washington Irving picked up on the Anglicized version of the name, “Sleepy Hollow” when staying with family in the area as a boy. Eventually millionaires like John D. Rockefeller would build mansions around the industrial zone that would become known as North Tarrytown at the turn of the 20th century. But it was Irving’s story that proved eternal when, in 1996, the village voted to rename itself Sleepy Hollow.
Street signs are orange and black, as is one of the village’s fire trucks. The Headless Horseman is the school mascot who, dubbed the nation’s “scariest high school mascot”, runs through every football game at half-time. Police cars and fire trucks also bear the Headless Horseman logo with pride. Halloween is celebrated throughout October with haunted hayrides, street festivals, a parade encompassing both Sleepy Hollow and Tarrytown’s main streets, several ghost tours and performances of the Washington Irving legend. The Great Jack O’Lantern blaze puts Christmas light spectaculars to shame and Horseman’s Hollow turns a 17th century Dutch mill into a gory homage to the headless Hessian.
The Old Dutch Church, Ichabod Crane’s presumed safe haven, stands guard over a vast “garden cemetery” designed to allow Victorian families to picnic with their dearly departed. Tours of the cemetery can be taken both day and night and feature stops at the graves of Washington Irving and those who inspired characters in his tale. A fair runs every weekend alongside the cemetery, providing tour groups with the opportunity to walk the grounds with alcohol in hand. The gas station on the other side of the infamous bridge hawks t-shirts and other assorted Headless Horseman souvenirs. And if you’re hungry, there’s always The Horseman Restaurant, a hole in the wall diner that promises you’ll “lose your head” over their milkshakes.
Editor’s Note: Check out the previous installments in Chris’s series exploring Disney history: “10 Disney Cartoons from the 1930s that Reflect the Can-Do Spirit That Survived the Great Depression,” “10 Ways World War II Affected Disney’s Filmmaking,” “10 Examples Of How Disney’s Productions Reflected The Changing America Of The 1950s,” “Walt Disney’s 7 Most Radical Ideas From His Last Decade on Earth,” “Disney’s Wilderness Years, Part 1: How The Studio Reflected The Chaos Of The 1970s” and “Disney’s Wilderness Years, Part 2: How The Studio Navigated The Hit-Or-Miss 1980s.”
A few years after Walt Disney’s death, the studio he founded entered a creative drought of nearly 15 years. The projects Walt had his hands on had dried up, and the most creative minds in the company were working directly on the theme parks. Ron Miller, Walt’s son-in-law, oversaw the company during most of this era, and, though the studio managed to produce some underrated cartoons and live-action films during this time period, nothing matched the artistry and innovation of the years when Walt was still alive.
When Roy E. Disney and Sid Bass brought Michael Eisner over from Paramount to head Disney — along with Frank Wells — the company experienced an almost immediate injection of creativity. In the realm of animation, most everyone dubs the period beginning with 1989′s The Little Mermaid the Disney Renaissance. (Some people end the Renaissance with the execrable Tarzan from 1999, but for me, this period ends with 1995′s Pocahontas.)
A lot of exciting things took place at Disney during the first few years of the Eisner-Wells tenure, and here are the ten best of them.
10. Pocahontas (1995)
Pocahontas marked the end of the Disney Animation Renaissance of the late-’80s and early-’90s, as far as I’m concerned. And it’s nowhere near as good as the films that preceded it, largely due to its over-earnestness, Judy Kuhn’s vocal melisma, and the screenplay’s loose play with history.
However, Pocahontas deserves mention because of its firsts. It was the first Disney animated feature based on a historical person, and it also brought the Disney Princess banner to an American character (something the studio did much better in 2009 with The Princess and the Frog). Disney also deserves some credit for turning the dramatic “Colors of the Wind” into a smooth pop hit.
Even though Pocahontas isn’t the greatest of the Disney classics, it does belong among the highlights of the early Eisner-Wells era.
For the past few weeks, we’ve looked at the company Walt Disney built and how it has survived over the decades. We talked about how the studio reflected the can-do spirit that beat the Great Depression in the 1930s, as well as how World War II affected Disney. We’ve also discussed the changing world of the 1950s and how Disney reflected it, and we looked at Walt’s seven most radical ideas from the 60s.
Last week, we delved into what I call Disney’s wilderness years – the period after Walt’s death when the company had exhausted all of its founder’s projects and its output suffered creatively. We looked at the 1970s and how Disney reflected the both the general malaise and the leadership crisis the country faced.
We’ve been looking at the output of the Disney organization by decade, from the 1930s to the ‘40s, ‘50s, and ‘60s, and this week, we’re looking at the 1970s. Everyone who experienced that decade has an opinion about its culture, or lack thereof. From polyester leisure suits to Pet Rocks, the ’70s were the decade of disposable culture (in spite of some true classics like The Godfather films and Star Wars). I consider myself more of a child of the ’80s, since that’s when I came of age, but I remember my younger childhood in the ’70s — especially a lot of the music — fondly.
Much of the culture of the decade reflects a certain escapism. From the disco kids partying their troubles away, to the punk rockers flipping a middle finger at pretty much everything, to the banal pop of the mainstream, much of the music of the era plays on a desire to get away from the troubles of reality. Movies and television share a similar escapism — witness the endless disaster films and idiotic sitcoms of the day.
Over the last few weeks we’ve looked at how Disney and its productions reflected, and sometimes influenced, the times. We’ve seen how Disney mirrored the can-do spirit of the ’30s, how the studio overcame the challenges of World War II in the ’40s, and how Disney changed with the times in the ’50s.
By the time the 1960s rolled around, Walt Disney appeared to have done it all. He had elevated the cartoon from an opening-act short to a feature-film art form. He had conquered live-action movies and embraced television, and he even revolutionized the theme-park experience. But Walt wasn’t done — in fact, it looks like he saved his most radical and powerful ideas for the last years of his life. And here are seven examples to prove it.
7. Walt Disney’s Wonderful World of Color (1961-1969)
After a seven season run for Disneyland on ABC, Walt wanted to explore different options. His greatest desire was to broadcast a show in color. Even though ABC had broadcast the show in black and white, Walt insisted on filming most of the segments in full color because he believed color would add long-term value to his productions. Rival network NBC had begun to promote color series heavily since parent company RCA made color television sets, and, after a brilliant sales pitch from Walt, the network bit.
Walt Disney’s Wonderful World of Color ran for eight seasons before undergoing a retooling and title change. During those seasons, Walt took advantage of the new and exciting world of color programming when few producers were willing to branch out, especially in the earlier years. Once again, Walt willingly blazed a trail, and once again his pioneering spirit paid off.
In my last two posts, we’ve looked at how Disney reflected the 1930s and the 1940s. As the studio emerged from World War II and into a new decade, it faced a changing nation. In their insightful book A Patriot’s History Of The Modern World, Volume II, Larry Schweikart and Dave Dougherty write:
Long-held and oft-repeated notions that the 1950s were a decade of sameness and conformity in the United States miss the revolutionary changes occurring in the decade – radical shifts that, fundamentally, may have altered America and the world far more than the superficial changes of the 1960s.
Far from reflecting a widespread sameness among Americans, life in the 1950s witnessed a burst of new businesses, consumer products, artistic expression, and social cross-pollination.
Disney ‘s productions from the 1950s reflect this rapidly changing America, and here are ten examples.
10. Matterhorn Bobsleds (1959)
Walt had two needs to fill: one was a way to promote the upcoming film Third Man On The Mountain, while the other was an attraction to fill space on a hill between Tomorrowland and Fantasyland. He remembered the majesty of the Matterhorn when he visited the set of Third Man On The Mountain, and the Imagineers designed a roller coaster based on the mountain.
The resulting attraction became the first steel-tube roller coaster, providing a smoother – yet still thrilling – ride than the traditional wooden coaster. Disney changed the way we think of thrill rides and opened the door for endless possibilities. The Matterhorn Bobsleds still bring excitement to this day. Check it out:
This is Part II in an ongoing series exploring cultural changes by decade. See last week’s first installment here: 10 Disney Cartoons From the 1930s that Reflect the Can-Do Spirit that Survived the Great Depression.
Walt Disney’s phone rang on the afternoon of December 7, 1941. His studio manager was on the other end to let him know that the Army was taking over the sprawling campus of the studio. The nation was already in shock at the bombing of Pearl Harbor just hours earlier, and Disney would cohabit with the United States military for the duration of the war.
The federal government commissioned hundreds of projects big and small for Disney, ranging from insignia design to training films to propaganda pieces. World War II changed the way the Disney Studios made films — from their efforts to support the Allies to anthology cartoons made for quick turnaround to new techniques to get their own products into the market, Disney emerged from the war a different studio than when the Army marched in on December 7, 1941. Here are ten examples.
10. “The Thrifty Pig” (1941)
Even before the United States became involved in World War II in the aftermath of Pearl Harbor, Hollywood was willing to engage in helping “the war effort.” Our northern cousins in Canada commissioned a propaganda piece from Disney to sell war bonds.
“The Thrifty Pig” relied on the familiar footage from “Three Little Pigs” from nearly a decade before, with some noticeable changes: the Big Bad Wolf is now a Nazi, and the third pig constructs his house out of Canadian War Savings Certificates.
The aim of the cartoon, of course, was to encourage Canadians to “invest in victory” by buying the certificates. It was an early test of the effectiveness of Disney toward the efforts to defeat Germany and Japan – and it was a success.
A couple of weeks ago, my friend and editor David Swindle published an open letter to me dividing the history of Disney animation into ten eras and encouraging me to explore the history of Disney through the same frame of mind. Here is the first in a series looking at the eras of Disney history.
As the United States slid into the Great Depression at the end of the 1920s, Disney’s output grew tremendously in quality and quantity. Walt and his team of animators and writers released plenty of entertaining product, but they also experimented, honing existing techniques and developing new ones. A struggling nation loved what it saw and couldn’t get enough.
Disney’s output during this time period reflects a uniquely American can-do spirit, one that helped this country survive the Great Depression in both determination and innovation. Here are ten great examples.
10. “The Golden Touch” (1935)
The 1935 cartoon “The Golden Touch” carries a special significance not because of any achievement but because of its failure – and because Walt himself directed it. The short, which tells the story of King Midas, has more of the feel of an episode of the Twilight Zone than a charming Disney animated cartoon.
Walt took control of “The Golden Touch” after a period in which he had criticized his directors repeatedly. He had not directed a cartoon in five years. The short, with only two characters, ran long on time and budget. The characters lack the appeal and much of the humor of typical Disney characters, and the story takes a dark turn with little of the typical Disney optimism at the end.
As a direct result of the failure of “The Golden Touch,” Walt learned to trust his talented directors, and he allowed them to continue to create, which of course allowed him to oversee the company that would change entertainment forever.
You’ve seen Thriller and heard all about Madonna, but what do you really know about the decade that ushered in the millennial generation? Think the era of scrunchies, boom boxes, pump sneakers and DeLoreans was just a fad? Think again. Some of the 1990s’ greatest pop culture trends were birthed in the millieu of Reaganomics, cable television, and a music video-loaded MTV.
15. Culture Club – “Karma Chameleon”
The ’80s was the decade of John Waters, the B-52s and all things camp coming to fruition. Decked out in eyeliner, lipstick and braids, Boy George popularized the aesthetic of this gay subculture with a poppy little tune about conflicted relationships. As for the music video, where better to set a gay guy’s love song in the ’80s than an 1870s riverboat called the “Chameleon” where a cheating gambler’s karma comes back to haunt him? Dude, it’s the ’80s: “Don’t ask, don’t tell” started here.
13. She has discovered a close kinship with George Costanza.
Sure, she may come off all serious in her videos, but Lana Del Rey has a seriously good sense of humor. According to Rolling Stone, Lana Del Rey ”has a George Costanza-like plan for the future.”
“I’m really specific about why I’m doing something or writing something,” she says. “But it always kind of gets translated in the opposite fashion. I haven’t done it yet, but I’ve learned that everything I’m going to do is going to have the opposite reaction of what I meant. So I should do the opposite if I want a good reaction.” She’s surprised to learn that George tried this approach in an episode of Seinfeld. “Oh really? That’s awesome. Me and George Costanza! Oh my God!”
If you were a teen (or pre-teen) girl at any time in the 1970s, you probably held in your (amateurly manicured) hands at some point a copy (or many, many copies) of Tiger Beat magazine. Known for glossy covers that featured saucy shots of the day’s most popular teen idols — most of them males and many of them shirtless — Tiger Beat (and its twin magazine 16) usually included a centerfold pin-up of a pop star of such import that the mere thought of his poster on her bedroom wall could persuade a young girl to part with her babysitting money. My bedroom wall was plastered with Bobby Sherman in all his glory — the purple shirts unbuttoned to the waist, the velvet choker necklaces, and those gorgeous blue eyes! Also clad in all black, with his beautiful brown tresses casually flowing in the breeze. And at least a half dozen other iterations of Bobby posing and smiling (or pouting). My cousin had all the Donny Osmond pin-ups, while my girlfriend across the street papered her walls with David Cassidy. We’d carefully remove the staples from our teen idols’ midsections, lovingly unfold our new treasures and smooth out the creases before taping (or push-pinning) them to our bedroom walls.
Did you ever wonder what became of the teen idol whose visage used to cast his gaze upon you every night as you drifted off to sleep?
Here’s what happened to 10 of our favorite Tiger Beat ”Cover Boys”:
Patrick McGoohan’s The Prisoner, a 17-part serial of which he was the star and one of the writers and directors, is one of the great cultural legacies of the late Sixties for several reasons:
- Its portrayal of “The Village,” a synthesis of the ideal English seaside resort with the total-surveillance nightmare of Orwell’s 1984;
- The varied and ingenious series of trials of his intellect, his ingenuity , and his integrity to which McGoohan’s unnamed protagonist was put;
- The exceptional quality of the scripting and acting throughout;
- The care put into retaining the key ambiguities, which was apparently one of McGoohan’s priorities.
Nothing quite brings home the uniqueness of the series as powerfully as that last point, which is heated to a rolling boil in Episodes 16 and 17, co-starring the immortal Leo McKern.
McGoohan once said that the key theme of The Prisoner is that “Freedom is a myth”:
Interviewer Warner Troyer: This is a kind of banal question I guess, but if you could leave one sentence or phrase or paragraph in the head of everyone who watched The Prisoner series – the whole series – one thing for them to carry around for a while when it was over, what would it be?
McGoohan: Be seeing you.
This was an invocation of The Village’s relentless surveillance of Number Six, for whom The Village was putatively created as a place of confinement and trial.
McGoohan’s perspective on freedom-as-myth partakes critically of the concept of purposeful self-command as the negation of freedom. This is underlined by contrast: through the condemnation, in the final episode, of Number 48 — “uncoordinated youth; rebelling against nothing it can define,” — and Number 2 (Leo McKern) — “an established member, turning upon and biting the hand that feeds him.”‘ For all revolts against control will be either thematic or unthematic. In the former case, the rebel defies an external locus of control; in the latter, there is none. The sole unaddressed alternative is internal control: self-command in obedience to values and priorities one enforces upon oneself.
In this regard, let us hearken back to episode 16, in which McKern’s Number Two strains to break Number Six’s will at long last, and pays dearly for it:
Number Two: Why did you resign?
Number Six: For peace.
Number Two: What peace?
Number Six: Peace of mind.
It seems that McGoohan, in couching the line that way, was emphasizing that the point of Number Six’s resistance was merely to reaffirm his will to resist: a rebellion against external control whose aim was solely to break that will. The theme is freedom and only freedom… but Number Six’s self-command, which he has asserted throughout and against which he will not rebel, remains in place.
10. Sullivan and Son
This working class comedy executive-produced by Vince Vaughn and Peter Billingsley is fraught with all the non-PC ethnic and sexual humor you’d hear in a working class, Irish-Korean, middle-American bar like the one in the show. Created by Korean American actor/comedian Steve Byrne and Cheers writer Rob Long, the TBS sitcom reminds you that some jokes are still OK to crack. The stellar cast features Dan Lauria (The Wonder Years) and comic genius Brian Doyle-Murray, along with Christine Ebersole and Owen Benjamin, who portray the drop-dead hysterical mother-son dependent duo Carol and Owen Walsh.
We’ve all heard of the horrors of Cop Rock and Manimal, but after receiving a reader tip on one of their worst TV shows of all time, I did some digging and uncovered these utterly classic samples of bad television that would make great material for Joel McHale or the cast of Mystery Science Theater 3000.
10. Bucky and Pepito (1959)
Produced by Sam Singer, “The Ed Wood of Animation,” Bucky and Pepito was a typical story of an “ambitious” white cowboy and his “lazy” (literally, they sing about it in the theme song) Mexican buddy trolling the old west on a zero budget. According to Toonopedia, “Cartoon historian Harry McCracken once said the pair ‘set a standard for awfulness that no contemporary TV cartoon has managed to surpass. They were great at what they did, which was being bad.’” Thanks to Bucky and Pepito, cartoonists have debated creating a Sam Singer Award for truly bad animation.
She developed the unique color palette for many of the iconic Disney films of the 1950s. She produced some of the most evocative artwork from the Disney Studio’s 1941 South America trip. She created the characters for a beloved classic Disney Parks attraction. She outshone the men she worked with – including her own husband. Yet for some reason, Mary Blair doesn’t have the household name she deserves except among Disney aficionados.
With his new book The Art And Flair Of Mary Blair: An Appreciation, animator and historian John Canemaker hopes to change that perception. (I’ve waited nearly two years for this book’s release, and it was worth the wait.) Canemaker explores a woman with priceless talent who led a difficult, sometimes tragic life – an artist who has gone woefully underappreciated. As Canemaker writes on one of the book’s final pages:
The general public’s knowledge of Mary Blair’s name and her art is limited. Only one of her children’s books is still in print, and the hundreds of conceptual paintings she made for animated films are stored at the Disney studio or are in private collections.
Mary Richardson was born in Oklahoma in 1911, but her family moved to Texas when she was a young girl. The daughter of an alcoholic, she asked for money from the family budget to purchase art supplies because she knew that her father couldn’t then spend it on drinking.
Her talent earned her a scholarship to the famed Chouinard Art Institute in Los Angeles, and there she met Lee Blair, whom she later married. The Blairs harbored dreams of becoming fine artists, but the obvious need for money led them first to Ub Iwerks’ studio, then to Harman-Ising/MGM.
We’ve made it to the end of our series on the 1964-65 World’s Fair and Disney’s influence on it. If you’ve missed the rest of the series here’s where you can find the rest:
Part 1: ‘The Kind Of Service We Can Offer’
Part 2: ‘Something No One Has Seen Or Done Before’
Part 3: ‘I Won’t Open The Fair Without That Exhibit!’
Part 4: ‘At The Intersection Of Commerce And Progress’
Part 5: ‘It Says Something Very Nice’
In this segment, we’re going to look at the legacy of the Fair on Disney’s theme parks. As we discussed in the first week of the series, Walt Disney used the New York World’s Fair as a sort of testing ground for an East Coast Disneyland concept. The success of the Disney-designed pavilions convinced the company that their secret land purchases in Florida would pay off. As Jeff Kurtti noted in Since The World Began, his (sadly out of print) account of Walt Disney World’s first 25 years:
Ninety-one percent of the guests at the 1964-65 New York World’s Fair attended at least one of the Disney shows. And although critics scoffed at Disney’s creations, their popularity convinced many in the Disney organization that the theme park concept was fundamentally reliable, regardless of geographic location.
Since the Fair, Disney has opened a resort with five theme parks in Florida, expanded Disneyland to a second theme park, opened a two-park resort in Tokyo and single-park resorts in Paris and Hong Kong – with a resort in Shanghai set to open in late 2015.
Each of the four pavilions that Disney designed and built for the Fair have left their mark on the Disney brand over the past 50 years. It’s A Small World, with its inimitable spirit and charm, has made its way to all five Magic Kingdom-style parks and has been consistently popular since its Disneyland debut. That attraction also inspired and informed the spirit of World Showcase, the half of Epcot in which various nations show themselves off to guests, living in harmony along World Showcase Lagoon.
Welcome to Part 5 of our series on Walt Disney’s contributions to the 1964-65 World’s Fair in New York City. If you need to catch up on the rest of the series, here’s where to look:
Part 1: ‘The Kind Of Service We Can Offer’
Part 2: ‘Something No One Has Seen Or Done Before’
Part 3: ‘I Won’t Open The Fair Without That Exhibit!’
Part 4: ‘At The Intersection Of Commerce And Progress’
This week we’re looking at an attraction that made its debut at the World’s Fair and is still beloved today – It’s A Small World. It’s one of the attractions that appears at every Disney resort, on three continents. Because of its ubiquity all over the world, according to Disney, the title song “is always playing somewhere around the world.” During the course of a 16 hour day in any one of the parks, the song plays 1,200 times. Love it or hate it, It’s A Small World is one of the quintessential Disney attractions, but it almost didn’t make it off the drawing board.
A scant nine months before the Fair, Pepsi approached the Disney Studios requesting that the Imagineers develop an attraction that the company would sponsor to benefit UNICEF. Bob Thomas picks up the story in Walt Disney: An American Original:
A Disney executive, believing that three projects were more than enough to occupy WED, sent the Pepsi-Cola people to an engineering firm that specialized in children’s playgrounds. Walt was angry when he heard about it. “I’m the one who makes those decisions!” he declared. “Tell Pepsi I’ll do it!”
Walt detailed to stunned Imagineers his plan for “a little boat ride” in which guests would see simple, childlike figures representing the cultures all over the globe. He enlisted some of his most trusted artists to design the attraction. Mary Blair, whom Walt called his “favorite artist,” imprinted her unique stamp on the look of the ride. Marc Davis oversaw the animatronics, while his wife Alice and Joyce Carlson designed the costumes for the dolls. Claude Coats engineered the layout of what Walt would call “the happiest cruise that ever sailed.”