Spinach, Hamburgers, and Olive Oyl

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Bluto and Popeye in Popeye the Sailor Meets Sinbad the Sailor

Okay, I know it doesn’t make any sense, but I love it. There’s a sixty-ish grizzled sailor, his beanpole girlfriend, a dark muscle-bound bear of a human, and occasionally this guy who has a voracious hunger for hamburgers (but no cash). The run of the Max and Dave Fleischer Popeye cartoons includes some 108 films from 1933 to 1942.

My favorites are the following three color two-reelers, which have classical Arabian Nights settings:

Of course, I also love all the black and white one-reelers. The usual plot comes down to a fight between Popeye and Bluto, usually over the hand of Olive Oyl, which Popeye wins after he opens a can of spinach and thrusts the contents down his throat. As for Olive, she is typically torn over Popeye and Bluto; but she has no trouble accepting the winner of the fight.

Here is one of my favorite black-and-white cartoons, “The Paneless Window Washer” (1937), which features Popeye and Bluto as duelling window-washers, with Olive the usual prize to the winner:

The Archbishop’s Garden

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The Archbishop’s Enclosed Garden in Mérida, Yucatán

Do you ever really use your front lawn? There you are, in full view of wandering passersby and the occasional hobo. You feel self-conscious and even slightly stupid—unless you are doing yard work.

Take a look at the above courtyard, which is surrounded on all sides by the Mérida, Yucatán archbishop’s palace. It was a hot, humid day; yet the garden was cool with comfortable benches in the shade. I took advantage of the benches before seeing the rest of the art museum that the archbishop’s palace has been turned into.

I love the Mexican houses that have no setback from the street, instead enclosing a private courtyard that is in actuality the heart of the house. Of course, there are laws that prevent such a thing in the United States. Hence all those front lawns that are thirsty for water and fertilizer and are never used for the pleasure of the family within.

Granted, the archbishop had the means to have something special built for him; but I have seen scores of small gardens in more modest Mexican houses, including many of the small hotels at which I have stayed. In many cases, they are used as bars or simple restaurants.

Sometimes I think that the water shortages in California and other desert states could be alleviated simply by getting rid of those front lawns that attempt to imitate an English country house. California is not England, nor is it the Eastern U.S.

Betty Boop Meets Cab Calloway

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Cab Calloway and Cartoon Representations

As I hinted in yesterday’s post, I am not done with posting about the cartoons of Max and Dave Fleischer. Among my favorites were the Betty Boop cartoons with music (and dancing) supplied by Cab Calloway and His Orchestra. In 1832 and 1933, Calloway worked with the Fleischers and three or four Betty Boop cartoons.

These included:

Minnie the Moocher (1932)

Snow-White (1933)

The Old Man of the Mountains (1933)

The reason I say there were three or four cartoons partnering Cab Calloway with Betty Boop was that there is a separately titled segment of Snow-White entitled St James Infirmary Blues.

None of these films could be regarded as suitable for children. (That also goes for Poor Cinderella, about which I posted yesterday, and in which Betty is in the street wearing nothing but bra and panties). In both Snow-White and St James Infirmary Blues, we see Betty in a glass coffin whose pallbearers are the seven dwarves, followed by the evil queen and Ko-Ko and Bimbo.

Even worse is The Old Man of the Mountain, whose villain is a bearded dirty old ogre who chases Betty Boop down the mountain with lascivious intent, at one point ripping off her dress.

On the Public Broadcasting System (PBS) website, there is an interesting article entitled “When Cab Calloway Was Betty Boop’s Co-Star.”

Poor Cinderella

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Today we can see all the Walt Disney cartoons (except maybe Song of the South) most any time we want. The same goes for the Warner Brothers classics with Bugs Bunny, Daffy, Porky Pig, Tweety and Sylvester, and Wile E, Coyote. Even Walter Lantz (Woody Woodpecker) and Hanna-Barbera are all around us.

But the cartoons I most love to see were produced by the Fleischer brothers, Max and Dave. They were best known for their Popeye cartoons , but their work included an animated Superman, Betty Boop, Ko-Ko the Clown, and a whole host of other creations. Unlike Disney cartoons, those by the Fleischers included mostly human characters.

One of my favorites is a Betty Boop cartoon called Poor Cinderella (1934)—her only appearance in color. The cartoon was based on a hypnotic song of the same name that recurs through the cartoon. At one point, an animated Rudy Vallee is shown singing it.

Here, for your enjoyment, is the cartoon itself:

In the coming weeks, I will provide links to other Fleischer Brothers products. I have always loved them and delight in sharing them with you.

The English Teacher

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Daily writing prompt
Share a story about someone who had a positive impact on your life.
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It was September 1958. I had just entered high school and been introduced to my English teacher, the Rev. Gerard R. Hageman, S.M.—a Catholic priest of the Marist order. He was incredibly strict. We had frequent quizzes in which one could only get two possible grades, 100 or 0 (Z-e-r-o). And the numerical grades were averaged out.

Father Hageman had created a one-page mimeographed summary on yellow paper of jis “Random Rules of Grammar and Style.” I will present you with two excerpts. The first are the rules which call for commas. This was abbreviated to D SAPS DT C CINQ MOC. The letters stood for: Direct address, salutation, appositives (I have since forgotten what those were), parentheticals, series, dates (city and state), titles after names, compound sentences, contrasting ideas, introductory adverbial clauses, non-restrictives, direct quotations, mild interjections, omitted words, and common sense.

Here are three random rules from the yellow sheet:

  • Pronouns are weak. If used, they must have clear and definite antecedents.
  • Introductory participles, infinitives, and gerund phrases must refer to the subject; and the subject must come immediately after.
  • Nouns and pronouns used as modifiers of gerunds are in the possessive case.

Imagine the impact on a thirteen-year-old boy and the threat of a zero score for any single violation of the rules.

Father Hageman was relentless. But, you know what? I still follow his rules religiously. The young student who wanted to be a nuclear physicist wound up preferring writing and, maybe, becoming an English teacher.

Unfortunately, Father Hageman returned to the Marist college in Atlanta, where he died suddenly on January 1, 1961. I wish I had a picture to show you, but that was years before the Internet.

In a 2018 interview with the then Catholic bishop of Atlanta, Joel M. Konzen, S.M., the interviewee noted:

All of us who went to Josephinum had a wonderful education there, but particularly wonderful in English. Writing and languages were highly emphasized at the Josephinum in that day. We had a wonderful teacher, Msgr. (Leonard J.) Fick. I think that anyone who went there would tell you the same thing. …

It was … kind of what they say about Father (Gerard) Hageman at Marist, that if you ever had either of those, you knew you were good to go in terms of writing and so I liked to write.

Perched on Nothing’s Branch

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Hungarian Poet Attila József (1905-1937)

The last few days I have been suffering from a summer cold. I know it’s not summer yet, but the temperature has been hot. During that time, I was reading a manically humorous detective novel written in the 1940s and finally quit as I was two-thirds of the way through. What I picked up next was a collection of 40 disturbing poems by a Hungarian poet who committed suicide by throwing himself under a train in 1937.

It’s not that I’m addicted to gloominess, but I am after all a Hungarian myself. So it must be something in the blood. Here is the title poem from the collection I read:

Perched on Nothing’s Branch

I finally arrive
at the sand’s wet edge,
look around, shrug

that I am where I am,
looking at the end. A
silver ax strokes
summer leaves. Playfully.

I am perched solidly
on nothing’s branch.
The small body shivers
to receive heaven.

Iron-colored.

Cool shiny dynamos revolve
in the quiet revolution of stars.
Words barely spark from clenched teeth.

The past tumbles
stonelike through space,
blue time floating off
without a sound. A blade
flashes, my hair—

My mustache is a full
caterpillar droopong
down my numb mouth,
my heart aches, words are cold.
There’s no one out here
to hear—

London

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A London Slum

I was rereading some of William Blake’s Songs of Experience this evening and shuddered at the poem entitled, simply, “London”:

London

I wander thro’ each charter’d street
Near where the charter’d Thames does flow,
And mark in every face I meet
Marks of weakness, marks of woe.

In every cry of every Man,
In every Infant’s cry of fear,
In every voice, in every ban,
The mind-forg’d manacles I hear.

How the Chimney-sweeper’s cry
Every black’ning Church appalls,
And the hapless Soldier°s sigh
Runs in blood down Palace walls.

But most thro’ midnight streets I hear
How the youthful Harlot’s curse
Blasts the newborn Infant’s tear,
And blights with plagues the Marriage hearse.

How strong is that phrase “mind-forg’d manacles”! How descriptive of a particularly American form of suffering in the Age of Trump!