It is the nadir of winter now, the trough, the storm of knives, the days of ache, the futile sun, the treachery of the air itself. In other words it is cold, and if the majority of the population was still aware of Johnny Carson show tropes, everyone would be saying HOW COLD IT IS, but that just gets you strange looks.
Why did you shout that?
Because I'm expecting an absudly comic illustration of the conditions!
I was just going to give the temperature. It's -
No no I don't care. It's so cold they're renting out the meat lockers as saunas! Like that!
Okay, well, they're not doing that. Anyway it's fourteen. Fourteen below. I think if you fall down you just break into chunks.
My wife is returning on Saturday after a month away, so I should start watering the plants. Be right back.
LATER So I guess I should find some new plants. Also, I have to complete cleaning out the garage, as if I would have done this in January if she were here. But the idea seems to be that I had more hours in the day somehow, and can tackle the problems. Well, okay, I will tackle them, which is what one does, right? Run at them at full speed and knock them over and prevent them from advancing.
Why is everything all over the floor of the garage
I tackled the project!
Other things to do include getting my car detailed, since it will now be hers, and I want it to look nice. She now has a sunroof, and I won’t. To be honest the number of times I’ve opened that thing is low, and while they’re nice, it’s not essential. Maybe twice a year I open it up and put my hand up and wave around like I'm 21 and in California/ Same with the little gear-shift paddles. Thought I’d use them to simulate the Excitement of Shifting, but no, the old salesman who sold me the car was right: never use ‘em.
I did not get the car on Saturday, because it was too cold and I didn't feel like leaving the house. I'm shooting for Wednesday. All enthusiasm for the project has leached away and now I just feel as if I'm pitchforking bales of money into a hole. Which, of course, I am, but on the other hand, heated seats.
Which I always forget to use, too.
This article from Duke notes the artistic products going into the public domain in 2025. Popeye and Tintin. Now there’s a matchup.
I never much cared for Popeye, because I simply could not countenance his spinach advocacy. That stuff was slimy and nasty and I did not believe my arms would suddenly display a battleship or tank or other symbols of strength. He was hunched and ornery and muttered like a madman. But, of course, if it was on, you’d watch it. That was the experience of childhood and television: it all depended what was on.
The article notes:
While Popeye 1.0 had superhuman capabilities, he did not derive his strength from eating spinach until 1932. Conversely, Olive Oyl dates from 1919 and has long been in the public domain. (Before Popeye, her boyfriend was named Ham Gravy).
Yes, I think this is well-known around here, right? I know I’ve posted some Ham Gravy.
As for Tintin, I’ve always loved Herge’s work. Snowy the dog goes into public domain as well. In the original, he’s named Milou, after Herge’s girlfriend. I’m sure she was pleased.
This Tintin site, translated, tells us more about the girl.
Marie-Louise's father, Paul Van Cutsem is a friend of Alexis Remi, (Hergé's father) is a well-known decorator who works with Victor Horta (famous Belgian architect, undisputed leader of Art Nouveau architects in Belgium) . Irma, Marie-Louise's mother, is a countess deposed for treason.
Uh - hmmm. Actually, no, I don’t think so. I found another French site about the matter, and translated, it says:
Unfortunately, "Milou" confides to Hergé that her idyll does not please her parents, Paul Van Cutsem and Irma Van Uytfanck, who do not seem to approve of her marrying a modest employee. Paradoxically, it is Marie-Louise's mother (who had sacrificed her class for love) who is most hostile to the young Hergé: " This boy only serves to fill the tablecloths with small drawings and blacken the cutlery, he has no future Milou”
So Mom had higher class status, and married lower. That might have been the “deposed for treason” reason. Lost in translation.
The reason I bring this up: it is inevitable that someone will make a slasher movie with Tintin or Popeye or both. Something horrid and crude and gory. As I would say to either: it happened to Pooh, it'll happen to you
The trademarks of a 100 years ago is our theme this year.
Wouldn't it be great if there was a b ig place where all the fans of a particular theology could get together and hear presentations and dress up like their favorite saints and get autographs from famous theologians
No claim is made to the word, which suggests it exists outside the drug contecxt. And that is the case: "a solution or remedy for all difficulties or diseases; a panacea."
Ol' RC really got going when he made his Cs.
The most famous badge on the force, perhaps.
Its owner was a much harder customer than the one who appeared in the color 60s shows.
It’s "The Big Girl," and if you know your Dragnet, you know where it’s going - Webb reused a lot of plots. In this one, same as the radio version, guys are getting held up and shot by a big woman who hitches a ride, then brings out a gat. One of the victims:
Heavily bandaged, but when he speaks . . .
. . . you know it’s Harry Bartell.
After a while, Friday and Frank Smith (Ben Alexander, same as the radio show) bring in a young lady who doesn’t exactly fit the “big” part, but was caught carrying the same caliber gun.
Well, well:
She really did have a spark. And it’s so odd to see her in these brassy blonde roles.
(It’s Morticia.)
I think the reason I decided to do this as a B&W World instead of just, you know, watching it, was this frame.
I knew who this was the moment I saw him. And it’s a crappy dupe! Am I that good? No; I just know the stable of Dragnet actors, or rather Webb’s stable - he used this guy in another movie, as well as another Dragnet. It was the bulk, but also the hint of really bad teeth.
We’ve mentioned him before. One of the most influential and creative people of the middle of the 20th century. Really!
I mean. Good heavens. This guy.
Returning to the U.S., Goff moved back to California and worked as a set designer for Warner Bros., producing the sets for such memorable films as Sergeant York, Charge of the Light Brigade, and Captain Blood. Goff was a lifelong model train enthusiast. In 1951, while in a London model-making shop, he met Walt Disney when they both wanted to buy the same model train.
As a result of having met Disney, he joined the Los Angeles artistic team of the Walt Disney Studios, a relationship that continued, off and on, until his death in 1993. His extraordinary work gave a distinctive character to a number of Disney productions. He is specifically credited with many of the finest inventive effects in Disney's groundbreaking live-action film, 20,000 Leagues Under the Sea, which he art-directed. Goff designed the exterior of the Nautilus, along with sets for every compartment within the submarine. The film was awarded two Academy Awards, for color art direction and best special effects.
Years later, Goff created the submarine, Proteus, for the film, Fantastic Voyage(Working again with 20.000 Leagues director Richard Fleischer), and art-directed the highly acclaimed Willy Wonka & the Chocolate Factory.
Goff also contributed heavily to the early renderings and concept art for Disney's proposed Mickey Mouse Park, which became the theme park known as Disneyland, and several areas of Walt Disney World theme park.
So, yes. Quite the fellow. Oh, and:
He also played the banjo in the seven-piece Dixieland band called Firehouse Five Plus Two, formed by other Disney staff and led by trombonist Ward Kimball.
As for the plot: here’s the Big Girl. T’wasn’t a girl. At all.
Oh the repressed 50s where everything was bright and tail-fin-happy, right? No. Anyway, he got sent to Q. Roll credits.
That will do. Another week begins here at the Bleat with your usual Matchbook update, and a free column at the Substack. Enjoy your day!
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