Sunday, October 7, 2012

In Defense of Big Bird

In last week's first Presidential debate between candidates Mitt Romney and Barack Obama on domestic issues, Mr. Romney was widely credited with having outscored the President, who gave an uninspired and lackluster performance. Among the ways Mr. Romney stated he would help to balance the budget, he spoke of cutting federal funding to the Public Broadcasting Service, or PBS.

“I’m sorry, Jim [Lehrer]. I’m going to stop the subsidy to PBS. I’m going to stop other things. I like PBS. I love Big Bird. I actually like you, too. But I’m not going to — I’m not going to keep on spending money on things to borrow money from China to pay for it.”
This statement, shown in the video below, has elicited much comment, but it is really nothing new. In 1995, then House Speaker Newt Gingrich very vocally suggested we eliminate all federal funding for the Corporation for Public Broadcasting. The issue has not gone away.


Presidential Debate 2012 
Mitt Romney:
"I Love Big Bird"

So, in defense of Big Bird, I'd like to make a few observations. I'm not an economist, so please forgive my simplistic statements. First off, money is fungible--in other words, one dollar is interchangeable with another dollar. A borrowed dollar may be used to fund public television or to build a new battleship or provide undeserved economic support to the Egyptian government. The debt is funded in Treasury bills, but the dollars are not distinguishable from one another. Given the enormous size of the national debt, the proportion of this debt that funds public broadcasting is relatively trivial. Yet the benefit, particularly to young children, may be very great.

The real reason that conservatives target public television, like the arts in general, is not macroeconomic necessity but rather the medium's perceived liberal slant. I suspect, though, that it's a miscalculation on Romney's part to go after Big Bird. Sesame Street is one of America's outstanding educational success stories. Why target a program that promotes early literacy? Such a show is an investment in America's future. Mr. Romney understands the show's public cost, but does he understand its public value? What could be more essential to future economic growth and prosperity than bringing up the next generation with an enhanced, early mastery of words and numbers? Doesn't such a lofty purpose justify borrowing some of the money, even from China?

China is singled out by Romney for its negative visceral impact on voters, but the People's Republic just happens to be flush with dollars and is quite willing and able to make massive purchases of Treasuries at the moment. The countries that purchase our debt almost never win popularity contests here. The problem with China, as I see it, isn't just that the Chinese are buying our debt, but that they're hacking into our energy grid, stealing our industrial secrets, and mapping computer systems in our vital installations. They're using their foreign policy to exacerbate world problems rather than solve  them, while committing ongoing violations of human rights at home and leading the world in female infanticide. (This very blog, by the way, is next to impossible to access from China because of censorship.) At any rate, the most serious cause for concern about China buying our debt is that our economic dependence on the Chinese government may inhibit our ability to deal forcefully with the many serious threats it poses to our security. Perhaps it already has.

Look, I don't think Sesame Street, a national treasure, is going to go away even if public broadcasting loses all federal funding, which I don't believe it should. The point I want to make, though, is that our children's education is well worth investing in, and that the cost of not doing this is far more significant than the cost of any debt we incur in supporting Big Bird.

Here then is a selection of mostly older videos, those I'm more familiar with, showing just a few of the many great songs the pioneering program has featured since it went on the air in 1969. All but one of these feature Jim Henson's Muppets. Preschool-age students may still find these quite engaging, and so may their parents.


Sesame Street:

"ABC-DEF-GHI..." Song




Sesame Street: "Batty Bat"


Classic Sesame Street - 

Grover and Madeline Kahn



Sesame Street:  Cookie Monster 

Sings "C is for Cookie"



Sesame Street:  "Elmo's Song"


Sesame Street:  "I Love Trash"


Sesame Street - "I've Got Two"


Sesame Street - "One Fine Face"



Sesame Street - "Put Down the 

Duckie" (with Epilogue)


Sesame Street:  Ernie 

and his "Rubber Duckie"


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Saturday, October 6, 2012

Book Review: The New Yorker Cartoon Caption Contest Book


The New Yorker Cartoon Caption Contest Book (2008)
Introduction by Robert Mankoff

By its nature, The New Yorker's cartoon caption contest turns selected offbeat cartoons into long-distance collaborations between the cartoonist and contestant. Perhaps it's more correct to liken the contest to solving a complex puzzle using the tools of creativity and humor. The surprise here is just how funny the resulting gags are. It's also very interesting to see three very different yet successful approaches to the weekly challenge, as well as a couple of inspired runners up.

The New Yorker first ran its cartoon caption contest in 1999 but it didn't become a weekly feature until 2005. How did we ever manage without it? The cartoons here tend to be visually strong, with very specific incongruities that cry out for a few brilliant words to pull it all together. This collection was published in 2008. It presents the results of one hundred contests, the best of about three years' worth of the feature. It's a very successful collection, and I'd say a second volume is overdue.


Note:  My post about The Best of the Rejection Collection Event can be read here.

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Friday, October 5, 2012

Joan Miró's Matador

Joan Miró's limited edition print Le Matador is a bold and colorful graphic image. The standing matador proffers his red cape to the bull. ¡Olé!


Sale 2286 Lot 596
JOAN MIRÓ
Le Matador.

Color etching, drypoint, aquatint and carborumdum on Arches, 1969. 1065x735 mm; 42x29 inches, full margins. Signed and numbered 2/75 in pencil, lower margin. Printed by Morsang, Paris. Published by Maeght, Paris. A superb impression of this very large print, with strong colors. Dupin 510.
Estimate $40,000-60,000
Sold for $30,000

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Thursday, October 4, 2012

Maurice Sendak: When I Was a Child

When I Was a Child is a thin softbound volume collecting the reminiscences of a number of writers and artists. It was published in 1992 by Bibliopolo Press, an imprint of the University of Connecticut for the Children's Literature Association. Contributors include Laurent de Brunhoff, Madeleine L'Engle, Alison Lurie, Richard Scarry, and Jane Yolen, among many others. The volume is apparently scarce and I haven't been able to find Maurice Sendak's cover art on the internet, so today I'm taking the opportunity to remedy the situation once and for all.

Maurice Sendak, When I Was a Child Book Cover, January 1992


Maurice Sendak, When I Was a Child Book Cover, January 1992

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Wednesday, October 3, 2012

Andrew Wyeth: Christina's Bedroom

You've seen Christina's World. But have you seen her bedroom?

Andrew Wyeth's most celebrated painting is Christina's World, on view in New York's Museum of Modern Art. It's a marvelous painting, seemingly full of unstated possibilities and, in its realism, strikingly different from the modernist fare that is the museum's bread and butter.

By contrast, I was just a little disheartened to see Wyeth's watercolor rendering of Christina's Bedroom from 1947 which was auctioned at Sotheby's in 2009. I guess I had hoped Christina might have a nicer room and a better life. The bedroom is relatively spare and stark, depicted with a bare mattress and bare walls. All of this seems to me to be a jarring contrast with the hope, determination, and limitless potential seen in the later 1948 tempera. Nice, stately cat, though.

Christina's World

Andrew Wyeth (American, 1917–2009)

1948. Tempera on panel, 32 1/4 x 47 3/4" (81.9 x 121.3 cm). Purchase
16.1949

2007

The woman crawling through the tawny grass was the artist's neighbor in Maine, who, crippled by polio, "was limited physically but by no means spiritually." Wyeth further explained, "The challenge to me was to do justice to her extraordinary conquest of a life which most people would consider hopeless." He recorded the arid landscape, rural house, and shacks with great detail, painting minute blades of grass, individual strands of hair, and nuances of light and shadow. In this style of painting, known as magic realism, everyday scenes are imbued with poetic mystery. --MoMA



Andrew Wyeth, Christina's Bedroom, 1947

Andrew Wyeth, Christina's Bedroom, 1947



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Tuesday, October 2, 2012

Book Review: Love, Groucho

 Love, Groucho:  Letters from Groucho Marx to His Daughter Miriam
Groucho Marx
Edited by Miriam Marx Allen

This 1992 book collects the letters written by Groucho Marx to his daughter Miriam. Miriam is Groucho's daughter by his first wife Ruth, and the letters, covering the years 1938 to 1967, encompass all three of his marriages. Some of the earlier letters were written when Groucho was traveling and Miriam was at home in Beverly Hills, but the majority date from Miriam's years at Bennington College and her subsequent years in New York City and Topeka, Kansas.

Groucho was fortunate to have his career revitalized by the quiz show "You Bet Your Life" at a time when his brothers' careers were essentially over. His personal life didn't go nearly so well, but it was brightened, it seems, by the birth of his daughter Melinda. Miriam's life too is a mess for much of this book, although that isn't very clear to the reader at first.

Readers of The Groucho Letters know that Groucho wrote very well and very entertainingly. The letters to Miriam are of a more personal nature, and Groucho isn't trying to be funny all the time. Because of this, we get a very intimate look at this superb comedian and, yes, man of letters.

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Monday, October 1, 2012

Whistler in Venice

Whistler's Venetian etchings remain a high-water mark, if you will, in the history of printmaking. Here his Two Doorways, with a strikingly robust sale estimate, failed to find a buyer last month at Swann Galleries in New York. This is a sumptuous exploration of surfaces and depth.

Sale 2286 Lot 54 Sept. 20, 2012, 10:30 
JAMES A. M. WHISTLER
Two Doorways

Etching and drypoint on antique cream laid paper, 1879-80. 202x292 mm; 8x11 5/8 inches. MacDonald's thirteenth state (of 13). A "selected proof" with Whistler's 3 dots and indiscernable initials in pencil, verso. Pro Patria watermark. Ex-collection Morris Schapiro (Lugt supplement 1918 bis, verso); and Kennedy Galleries, New York, with their stock numbers in pencil, verso. A brilliant impression with all the delicate lines printing clearly. Kennedy 193; MacDonald 221.
Estimate $30,000-50,000
Unsold

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Sunday, September 30, 2012

The Undersea World of Claude Smith

This is an original single-panel gag cartoon by Claude Smith recently sold on eBay for just $20. The auction listing provides no caption and no publication history, so I'd love to hear from anyone who can shed some light on where, when, and how this drawing was used. In the meantime, for want of anything better, I'd like to propose my very own original caption: "But how on earth could they know you had the idea way before Jacques Cousteau?"

Thank you. I'll be here all week.


Claude Smith



Claude Smith Scuba eBay Winning Bid
Claude Smith Scuba eBay Item Description



Claude Smith


March 27, 2014 Update:
After a year of entering cartoon caption contests, I feel I have a better understanding of the elements of caption writing. Here then is my new proposed caption for this Claude Smith cartoon:
Claude Smith
Proposed caption:  "For heaven's sake, Arnold, you have no case against Jacques Cousteau."
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How Ya' Doin'?

For whatever reason, the song lyric I probably quote the most is from Joe Walsh's classic tune "Life's Been Good." It appeared on his 1978 album "But Seriously, Folks...." The quotable line is "I can't complain but sometimes I still do." It seems to come to me all the time, such as whenever anyone asks me how I am. Or "How ya' doin'?"

Joe Walsh - Life's Been Good 

 

http://s28.photobucket.com/albums/c225/fsuk731/Celebrity%20Photos%201/?action=view&current=JoeWalsh-ButSeriouslyFolks-AlbumCov.jpg&sort=ascending

 

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Saturday, September 29, 2012

Mickey's Kickoff

Seventy-seven years ago this season, Mickey Mouse Magazine's cover celebrated America's great winter sport. Mickey Mouse, the timeless Disney icon, was only seven years old at the time. Say, is Mickey's kick heading for the sidelines?

Mickey Mouse Magazine 3
Mickey Mouse Magazine, Vol. 1,  No. 3, November 1935

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