Richard Hunt 1951-1992

First off, I want to say thanks to everyone who has taken the time to read my entries! This is my first Blog, so it is greatly appreciated. Knowing that my thoughts are reaching people inspires me to continue.

You may have noticed my first couple of entries focused on the legendary Muppets, and specifically on the loyal go-fer Scooter. There is a reason for that and today is the perfect day to explain why.

Today, January 7, 2009, is the 17th anniversary of the death of Muppet performer, Richard Hunt. Richard was the puppeteer behind the eager Scooter, of course, also Sweetums, Janice, Junior Gorg, Forgetful Jones and Statler (one of the old guys in the balcony), just to name a few.

I’m ashamed to admit I hadn’t heard of Richard until a few years ago, despite my life long interest in the Muppets. That all changed after reading an informative and touching Tribute to this unique performer on the Muppet Central website. From there, I was inspired to learn more.

I’ve always loved The Muppets of course; they had a unique mixture of insanity and sweetness. Something that’s very difficult to pull off, but they did it. From everything I’ve read, Richard represented a lot of that spirit. In a memorial from Puppetry Journal, Todd Stockman describes Richard: “He was a remarkably gifted performer whose high energy level permeated through each of his characters, both on and off camera. He was famous for cutting up on the set with a puppet in hand, entertaining a young visitor to the set of Sesame Street set, and energetically and hysterically leading the Muppet workshops responsible for training countless puppeteers.”

First of all I was intrigued by Richard’s story: He was only 18 when he joined the Muppets, just out of high school and looking for a job. Well actually, his first job was as a weather correspondent with Cousin Brucie. Having virtually no experience, he often resorted to putting his hand out the window to see if it was raining! The job was clearly not a perfect fit for the loud and outgoing young man from a family of performers. As Richard himself once put it in the Muppet Show Press Kit, “Four months of it was all I could take…I decided to make a career of resting.”

For Richard, part of ‘resting’ included taking time to watch a strange new form of entertainment—known as The Muppets. This unusual puppet troupe led by Jim Henson was gaining stride on Television, regularly appearing on such variety shows as Ed Sullivan, and contributing to an innovative new program for children, Sesame Street. Richard found himself enamored of these puppet characters, which could display an unusually wide range of emotions and possessed an off-kilter, yet endearing sense of humor. Richard would later declare, “I’d drop anything to watch them…I thought they were weird.”

Eventually Richard got up the nerve to give up resting and see if there was a future for him with the Muppets. Much like his future character Scooter, young Richard had a couple strikes against him. As Kermit would later confess to Scooter, “You’re too young, you don’t have any experience!” However, also like Scooter, what Richard lacked in puppetry experience, he made up for in determination and talent.

On a day that would turn out to be quite fortuitous, Richard contacted Henson Associates (from a phone booth in the city) asking if the company was possibly auditioning puppeteers. Luckily for Richard (and for Muppet fans the world over) Jim Henson was auditioning new talent that very day, and saw something in the young hopeful from Closter, New Jersey, with the eccentric sense of humor and eagerness to please. (Jim Henson-The Works, Christopher Finch, pg 58).

For me, Richard’s story with the Muppets demonstrates the importance of, not just talent, but determination and hope. Muppets fans might remember Kermit’s song “The Rainbow Connection” which celebrates “the lovers and the dreamers.” For me, Richard represents both. As a lover, he was one of the Muppets’ original fans, who believed in their heart and humor long before the skeptical execs at CBS did. In a recent interview with Muppet fansite Tough Pigs, fellow Muppet performer Steve Whitmire shared, “Richard was a lot about justice. He was always about the underdog….He was a great diplomat for the Muppets as much as anything.”

This love eventually grew into a dream, could he find a place with his heart’s desire? Here I am reminded of a line from the musical Joseph, “Some folks dream of the wonders they’ll do before their time on this planet is through…some…hide their hopes and their heads in the sand…but if you think it, want it, dream it…then it’s real.”

Richard could have easily stayed home that fortuitous day, content with simply watching the Muppets on TV, laughing at their antics from far away. He certainly would have been entertained! But then the Muppets and the world would have been deprived of what turned out to be a vital part of what made the Muppets the strange mixture of sweetness and insanity that they are today.

So, what exactly was Richard Hunt’s contribution to the Muppets? After much research, I think he represented much of the Muppet’s edge, and yet also their depth and complexity. Unlike most of the other performers, Richard clearly had a puppet preference when building his impression repertoire. His undeniable specialty—the bad boys. Well, semi bad boys, I call them. He rarely played an out and out evil villain in Muppet projects. More those characters with the attitude, loud and crazy personalities and egos, and imposing dispositions. Some obvious examples would be Sweetums from The Muppet Show, Junior Gorg and Gunge from Fraggle Rock, and Placido Flamingo and Leo the Party Monster from Sesame Street (not to mention the multitude of Anything Muppets and What Nots over the years).

The Muppet performers often claim their own personalities are mirrored in the characters they play. Jim Henson’s son Brian once labeled Richard as “kind of crazy. He was the bad boy of the group.” On the Muppet Central Tribute, puppeteer Terry Angus once fondly remembered a typical day of filming with Richard, “I remember the first season of Fraggle Rock was shot in the summer and it was hot. Richard was going around the set during a scene shooting people with a squirt gun… I’ll never forget the evil smile as the water would hit you. We all got Richard back during the break with a garden hose. He was soaked.”

Terry also described how a boisterous Richard Hunt would conduct puppeteer auditions in an intimidating yet oddly helpful way, “The door opened and a girl comes out shaking and muttering ‘That guy is crazy! That guy is crazy!!’…I went in and Richard was in my face barking questions like a drill Sargent. “HI I’M RICHARD HUNT!’…Richard was acting the way he did to see if the new performers could handle stress. In TV you have to be able to handle stress.”

Rarely did the Muppets create characters that were flat and one dimensional. Richard’s semi bad boys also had soft sides and part of their journey as characters was discovering this and becoming well rounded and complex individuals. Sweetums may have looked like a fairy tale ogre, but in reality he was an opera lover who cried to think people were scared of him. Junior Gorg delighted in chasing Fraggles, but we later learn it’s because he’s so desperate for a friend. Tough talking Gunge discovers his friendship with Philo is more important than fame and glory.

Again, it’s possible that such complexities in the Muppets came from Richard’s own personality and life experiences. Fans of Fraggle Rock might remember the episode “Gunge the Great and Glorious” in which Gunge get enticed by fame and power, even at the expense of his friendship with Philo.

Philo: There are more important things in life than being a king.
Gunge: Oh yeah like what? Come on, come on, tell me, what? !
Philo:Like us bein pals!
Gunge: Oh, gag me with a twig!…I want something better! I wanna be a star!

In a recent Muppetcastinterview, fellow puppeteer Kevin Clash described Richard’s “hip, cool personality” which easily attracted others to him and made him, as Henson Company veteran Pete Coogan once said, “the pied piper…Where Richard went, everyone followed!” Yet Kevin speculates it was this cool, confident personality that also sometimes prevented Richard from showing just how much the Muppets really meant to him. He fondly recalls Richard nonchalantly reading the newspaper until the very last minute before filming a Sesame Street segment.

However, Kevin also assures us that those closest to Richard knew how much he truly loved the Muppets, “This was his life, he loved it, loved it, loved it dearly.” Perhaps in a similar way, Gunge eventually learns (and admits) where his true feelings lay:

Gunge: Boy, I sure was wrong about how great it would be to be king. It wasn’t fun at all.
Marjory: Didn’t you enjoy being the center of attention?
Gunge:Nah, it wasn’t real. I mean, the Doozers loved me cause I was the king, not cause I was me.
Marjory: That’s a very wise observation.
Gunge: The only one who ever loved me for me was Philo. And now he’s gone…ohhh…I can’t believe how much I miss him! I feel like half a rat.
Marjory:You know that’s exactly how Philo felt when you were gone.
Gunge: It is? You mean he missed me this much?
Marjory: He certainly did.
Gunge: Oh, then I gotta go find him and tell him how I feel!
(Moments later)
Gunge (to Philo): I don’t know how I coulda thought bein king was more important than…you.
Philo: Really? You know, Gunge, you’re the greatest.
Gunge:No, no, no Philo…you’re the greatest…

In Puppetry Journal, Todd Stockman further describes Richard’s own journey in the face of troubling times, “Richard’s indefatigable spirit was a valuable and important ingredient in the lead Muppet ensemble. Once the dark cloud of AIDS began to affect his life through the loss of friends, and his own diagnosis of becoming HIV positive he became noticeably more spiritual, somewhat more solemn, and serene. Richard’s inspirational and uplifting words at the public memorial for Jim Henson…were especially poignant.”

Ironically, the challenges Richard Hunt faced might have helped him find his words at Jim Henson’s memorial, “The spirit of Jim was here before, during, and remains after his stay. And hopefully that part of him that we each keep will help…remind us to stop rushing to stop trying to control things. Instead to experience the wonder that God has given us…Forgive your anger, forgive your guilt, your shame, your saddness. Embrace and open up your love, your joy, your truth! And most especially your heart. Let us all have mercy on each and every one of us. And everyday we will open up, like a cocoon, and turn into beautiful butterflies. And live this moment…and the next…and the next…and the next…”

Looking back, it’s almost like Richard came at exactly the right time in my life. I’ve always been kind of a shy person. I’ve achieved a lot in my life, but I’ve always suffered from a lack of confidence. Sort of like in the musical Jekyll & Hyde, “Wanting to fly, but scared to try.” Most of my entertainment heroes mirroed this, and were themselves known for being shy and withdrawn. Richard is a total departure from this trend, confident, outgoing, willing to be silly and take chances. Another Fraggle puppeteer Karen Prell has said, “Richard cared so much about getting the best out of people.” I can safely say Richard really inspired me to try harder, not be afraid, and to be comfortable with myself. I find myself more willing to take on challenges and stop worrying about being nervous. I feel more empowered, which is wonderful! In addition, I was moved to be more generous, whether it was contributing to charity or just sharing myself with people. I’m so grateful to have had that inspiration.

More than anything else, the people who knew and worked with Richard remembered his generosity. As Kevin Clash put it, “He gave all of us so much of himself.” The recently published history of Sesame Street, Street Gangby Michael Davis, very generously provided many memorable and introspective observations of Richard. Richard’s mother Jane explains how her son often suffered from teasing in school, due to his unusual and outgoing personality. But young Richard had an idea! He began taking money from his Mom in order to buy candy for his classmates. Eventually his generosity won them over. Now of course, it’s not right to steal money from your Mom. And it’s probably not a great idea to try to buy friends with said candy either, hehe. Still, he had the right idea, the best way to make friends is to be a friend yourself first.

Later in life his generosity matured into supporting his family, grabbing the tab at dinners, planning vacations for friends, showing kids around the Muppet Show studio and certainly giving us his all in performance. We usually associate the concept of generosity with warm fuzzy feelings. Yet we often forget it requires sacrifice and often pain to be generous. In Street Gang, his sister Kate shared that perhaps Richard was such a brutal perfectionist in performing because he felt the weight of the world on his shoulders, providing for his family. Muppeteer Karen Prell explained his often intimidating work ethic, “Richard cared so much about getting the best out of people. He’d come on strong but he loved the Muppets and being a Muppeteer and helping other people be good Muppeteers. He could really get people to do their best in his very own way.” Kevin Clash recalled Richard’s good natured teasing when Elmo (the puppet Richard had given up to Kevin years before) became to get popular.

Yet it seems Richard’s generosity of heart and Muppet performing always came with eagerness, fun and genuine loyalty. It is a lesson we can all learn from in our own lives. If I may be so bold, I’d like to  imagine that when Richard arrived in the Afterlife, he found people eagerly waiting to perform a show for him. And perhaps he was even persuaded to let someone else take the tab for once.

This is the part of the article where they usually discuss the legacy a person leaves behind. To be sure, there are probably a million bits of trivia and Muppeteer anecdotes I could add to try and make this tribute complete. Any of that would be splendid. However, perhaps Richard’s legacy, true to form, comes from a more unexpected place. Perhaps, in a father’s surprising yet touching tale of his young son Chris, who suffers from Autism, but yet possesses a rather unique gift:

“This child could remember any words he saw! He once spelled the words ‘Richard Hunt.’ ‘Who’s Richard Hunt?’, I asked. Jae didn’t know either. Well, we were watching a Muppet Movie later and happened to notice that the twentieth character printed on the credits was Richard Hunt. For some reason that caught his eye and he remembered it! I found myself looking at him in amazement. His ability to spell and remember words was incredible” (Breaking Autism’s Barriers, Bill Davis).

I think that says it all. Rest in Peace, Richard!

Below are some sites that any interested parties would find…well…interesting! Plus, it gives me the opportunity to thank my sources, which is very important!

Angus, Terry. “Remembering Richard Hunt.” Muppet Central.com

Davis, Bill. Goldband Schunick, Wendy. Breaking Autism’s Barriers: A Father’s Story. Jessica Kingsley Publishers. © 2001.

Davis, Michael. Street Gang: The Complete History of Sesame Street. Viking Publishers. © 2008.

Finch, Christopher. Jim Henson – The Works, The Art, the Magic, the Imagination. Random House, Jim Henson Productions, New York. © 1993. 58.

The MuppetCast, hosted by Steve Swanson.

Muppet Central- Major Muppet fansite with information, articles and a very active forum

Prell, Karen. “Animateer Karen Prell: An Interview with Puppeteer, Animator and Writer.” Plume, Kenneth. Chapman, Phillip. Sept. 1998. Muppet Central.com

Stockman, Todd. “In Memoriam. Richard Hunt January 7, 1992.” Puppetry Journal (1992).

Your Face! - A Richard Hunt fansite with entertaining articles, quotes and photos. Btw, “Your Face!” was a saying Richard was very fond of when telling people off

Whitmire, Steve. “My Week with Steve, Day 5.” Hennes, Joe. Oct. 16, 2008. Toughpigs.com

Not a Superbowl Fan? Try the Marx Brothers!

So are you one of those people who’s downright sick of hearing about the (in)famous Superbowl? This is the time of year where those peculiar people called “Non Sports Fans” sit around their house, wearily looking for something, ANYTHING to do that doesn’t involve touch downs or pre game shows. Many of us watch anyway, if only to anticipate those witty, often groundbreaking commercial breaks. Still, you don’t have to watch the Superbowl to do that (thanks, Internet!).

Even if you catch this Blog entry a little late, you’re probably STILL hearing about the oh-so-big game Monday morning! For those who do not appreciate such things, what to do, what to do?

Well I know what I’ll be doing! While others will be watching the Pittsburgh Steelers and the Arizona Cardinals in 2009, I’ll be cheering on Huxley and Darwin, circa 1932.

What the heck am I talking about? I’m talking about that classic comedy, that witty and anarchic take on the game of football and collegiate life, the Marx Brothers film, Horse Feathers.

By 1932, the brothers had already reeked their havoc on hotel lobbies, high society parties and one steamship. It is clear to me that by 1931’s Monkey Business (that’s the one with the steamship), the writers were starting to approach the creation of the Marx Brothers’ films on the basis of, “Gee, I wonder what would happen if they were on a boat!”  In the same way, I can easily imagine the next set of writers speculating, “Now I wonder, what would happen if the Marx Brothers went to college?!” Thus Horse Feathers was born.

Horse Feathers isn’t the most well known of the Marx Brothers’ films, though it is among the five Paramount projects generally considered to be the brothers’ best. There’s the familiar set up; Groucho Marx is conning high society again, this time taking on the role of Professor Quincy Adams Wagstaff, the new Head of Huxley College. True to form, even in disguse he can’t quite help himself: “Well I thought my razor was dull until I heard his speech! And that reminds me of a story that’s so dirty I’m ashamed to think of it myself!”

Professor Wagstaff finds he’s running a college that hasn’t won a football game since 1888 (Wow…don’t you feel young?!). His son, a student at Huxley (played by Zeppo “Thankless Role” Marx), suggests he hire two professional football players for the upcoming big game.

Once again, Wagstaff can’t quite take his role of professor (or conman) seriously. Instead of hiring the two ringers and keeping up his deception as a competent college dean, he ends up hiring the slightly crooked Baravelli the Ice Man (played by the Italian Marx Brother, Chico Marx) and the altogether unhinged Pinky the Dog Catcher (surrounded by hungry dogs and angry policeman is of course, Harpo Marx).

Neither is likely to help win the big game. Huxley needs two big, brawny, not to mention skilled football players to succeed. The Marx Brothers are, in contrast, rather short and scrawny and useless in a fight (not to mention any organized event)! That is…if this was any other 1930’s football movie.

Let’s back up a bit. Turner Classic Movies has been kind enough to share with us a whole day of 1930s football films this weekend, in celebration of the Superbowl. It’s interesting, nowadays the football films we’re used to involve the underdog team that manages to come out on top in the end. But it seems 1930s football movies had summaries that read “Gangster turns straight after joining college football team” or “Gamblers kidnap Quarterback to stall the big game!”

How times have changed! But in any case, the heroes of such films seem to be your typical football player. Again, tough, burly, not too bright but knows his game. This description certainly fits the two ringers mentioned earlier in Horse Feathers, named Mullen and McCarty. But then again, this isn’t their movie! This is Marx Brothers’ territory.

Towards the middle of Horse Feathers, Wagstaff sends Baravelli and the Dog Catcher on a mission to kidnap Mullen and McCarty, who are now playing for the other college team. We quickly discover our Marx boys are out of their league. Physically, they’re no match for the two broad shoulders ringers. And they’re so cluelessly confident in their own toughness that they end up getting kidnapped themselves (Not to mention stripped of their clothes! Don’t worry 1930’s audience, they’re wearing their Long Johns!). As Baravelli finally comprehends, “We come to kidnap them and they kidnap up! That’s-a fix-a fine we’re in!”

One can’t help but feel bad for Baravelli and the Dog Catcher at this point. They’re every little boy who’s picked last in the school yard. Bossy sports people triumph yet again. The only weapon the brothers’ really have is their unbreakable wit, not to mention their unbelievable gall. Most people would get embarrassed by being forcibly separated from their clothing! But Harpo turns it into a game, cheerfully tearing off his clothes before the ringers have a chance to do it first and cheekily adopting a mock modest pose. Chico’s expression isn’t quite one of embarrassment, but rather more of concern and shock. He really did think  they had the upper hand until the very last second! His next thought seems to be protecting Harpo from taking on the football bullies again. He’s less worried about his own embarrassment and more concerned about his friend’s well being. The bullies may laugh, thinking they’ve won the day. But they haven’t, because the Marxes didn’t give into embarrassment or shame. They threw it all back in the bullies’ faces with humor and camaraderie.

That same clueless confidence that got Baravelli and the Dog Catcher kidnapped in the first place is also how they ultimately saw their way to freedom. No that’s not a grammar error, they literally use saws to cut through the floor of their prison, nevermind it’s the very floor they’re sitting on!

This isn’t typical mindless slapstick humor. It’s not watching them inevitably crash to the first floor that’s funny. It’s the fact that they don’t seem to care.  Plus the fact that they managed to crash into a lady’s Bridge game (quite literally), prompting a deadpan Baravelli to casually comment, “Well partner, I guess we made a grand slam.” While other comedians get laughs by being in pain, the Marx Brothers get laughs by being above it all…that and witty puns.

The finale of the movie is, of course, the football game, if you could call it that. The Marx Brothers (as usual) prove anarchy is mightier than any touch down, scrimmage or huddle. Among the highlights are:

Ref: Why weren’t you in that last scrimmage?

Wagstaff: I’m sitting this one out…

Ref: What are you doing with that cigar in your mouth?

Wagstaff: Why, you know another way to smoke it?

Baravelli: Signal! Hey diddle diddle, the cat in the fiddle, this time I think we go up the middle!

Not to mention the classic moment where the pompous Ref informs the Dog Catcher he can only tackle the man who has the ball. Naturally, the Ref has the ball. And naturally, the Dog Catcher pins him down! Once again, it’s not the violence that’s particularly comical. It’s Harpo’s motivation, or lack their of. There’s nothing to gain by tackling the Ref and he knows it. But he feels like tackling someone, especially someone who’s just told him what he can’t do. That’s the essence of the Marx Brothers’ humor. Anarchy, because they feel like it. Especially when the haughty establishment pushes you around (But don’t try that at home, kids. This is the movies!).

Of course, (AND SPOILER HERE) it’s not entirely without motivation; Huxley does end up winning the game thanks to our unlikely heroes. I won’t go into too much more; I still want you to watch this film, hehe. Just a suggestion for anyone who finds themselves bored this weekend or any other time. Both sports fans and non sports fans alike. I recommend the Marx Brothers, and Horse Feathers.

The Halloween That Almost Wasn’t: A Rememberance of a Very Special…Special ;)

Well it’s nearly that time of year again–Halloween! A time of pretty Fall colors, chilly air, orange skies, hay rides, parades, “Monster Mash” on the radio, and of course trick or treats! Kids get to dress up as their favorite characters and demand lots of candy from their neighbors. These days, even those of the grown up persuasion are getting in on the fun, enjoying the freedom of disguise and reliving childhood memories.

 

One of my most important memories of Halloween was the annual TV specials. Halloween is a time to celebrate spirits and spooks long gone. Strangely, it seems these TV specials have also gone the way of the spirit world in recent years, all but disappearing from Television airings, and not making the transition to DVD. Even more bizarre, few to no new specials are popping up to take their place.

 

Before the month of October is through, I would like to pay tribute to one Halloween special in particular, largely gone but not forgotten. The Halloween That Almost Wasn’t.

 

You know, that light heartened spooky comedy of errors, starring the quirky yet deliciously hilarious Judd Hirsch as Count Dracula. Halloween is in danger of ending, when the Witch refuses to make the annual trip over the moon.

 

The Halloween That Almost Wasn’t was such a distinctly ’70s period piece, and not just cause of the (in)famous Disco dancing scene (you really have to see it for yourself)! The Witch in this special, a feisty, sharp and hip gal, is tired of playing second fiddle to chauvinistic Count Dracula and his dim witted band of monster boys (Werewolf, Frankenstein, Mummy etc). Halloween may have made her the star she is, but she’s decided equality is more important. Let’s face it; we’re talking Witch’s Liberation here!

 

Seeing this special again for the first time in years, I begin to remember why I enjoyed it so much as a child. The Witch is additionally fed up with being old and ugly and “feared instead of loved” by the world’s children. Now as I recall, I wasn’t particularly afraid of the standard movie monsters (Dracula, Frankenstein, Witches etc), but neither did I particularly love them. I mean, they were monsters after all (not the cute, fuzzy, witty kind from Sesame Street) and more often than not portrayed as villains, to be feared and conquered (generally by Scooby and the gang). 

 

Yet here, for the first time, they were the good guys. These monsters were funny, hilariously clumsy and hip (well…mostly funny and hilariously clumsy). Dracula is the paranoid, prima donna leader of the pack, forever frustrated by his hopelessly pathetic band of spooks. And even more frustrated by this upstart Witch, trying to replace his picture on the official Transylvania T-shirts! Among the many witty gems from this special:

 

Frankenstein (timidly): Are they gone?

Dracula: Yes…it’s safe for you to come out now and protect my life!

 

Dracula: Soon you will grow sleepy and obey my every command.

Witch: Over my dead body!

Dracula: Heh, Don’t be a tease…

 

Movie monsters as comedians? For a child, this was a totally new concept for me! Clearly, it’s impossible to be afraid of these guys! But were they worthy of love? The Witch doesn’t think so: “I don’t wanna be a Witch anymore! Nobody loves a Witch!” Halloween is on the verge of extinction, unless the Witch can be persuaded to change her mind. The monsters fail to force her hand, and bribery just gives Dracula a headache (“It is one of those days I wish I was dead…and stay dead!”)!

 

As it turns out, the only ones who can save Halloween…are children. Specifically, two children who arrive on the scene just in time and beg the Witch to reconsider; assuring her she is loved…just the way she is. There’s even a little girl dressed up in the classic pointy Hat, proud to have a female monster to look up to! Even callous Dracula is moved by the children’s gesture. And as a child, I remember being rather comforted. These guys, these movie monsters, do what they do because they know how much it means to the children who watch them. These movie monsters may be typically scary and intimidating. But at that moment, they are vulnerable and genuinely touched by the love of their fans. They wouldn’t be anything without them, and they know it. These guys aren’t villains to be conquered; they’re our friends to be enjoyed. I don’t know about you, but I wanted to join in with the Disco dancing at the end!

 

Even more refreshing, the Witch finds the perfect sense of balance in a liberated world. She agrees to swallow her pride and fly over the moon for the sake of her loyal admirers. She may still be an ugly old Witch, but she’s fine with that now, knowing her efforts are truly appreciated. Of course, that doesn’t stop her from ultimately securing her rightful place as Dracula’s equal (and some would say superior! ). She’s learn that she can demand equal respect with the male monsters, while still being proud of her own unique spookiness.

 

In this world of overly sanitized children’s programming and increasing sense of conformity, this is a message we all desperately need to hear. Just because a kids’ TV show or character has an edge, doesn’t mean it’s not beneficial. What’s scary on the surface can be sweet underneath. We don’t see this level of emotion, innocence and wisdom in children’s entertainment much these days and it’s our loss.

 

And finally, if you try to change yourself too much, you lose the wonderful qualities that make you you…and this world a better place.

 

Happy Halloween.

 

(Btw, about that Disco dancing moment, lol. While that scene is obviously quite dated and laughable today, as a child I found it rather sweet. The Witch changes into a young, smartly dressed woman and Dracula into a ’70s thread wearing dude, as the music blares “Love will soon come again!” To my child mind, I interpreted this to mean the Witch and Dracula had “come back from the dead” to temporarily reunite as lovers again. Awww!….Well, maybe it was just me! )

 

“Children Will Listen”–A Brief Musing on Entertainment

I’ve always had interests in my life from the world of entertainment. I guess while other kids had imaginary friends, I had Star Trek, the Beatles and the Muppets, just to name a few. I guess you could say it was ingrained in my DNA. As an only child, there were a great many times when I was forced to amuse myself. Always present was the sound and pictures coming from the Television. The TV shows and movies I loved served to comfort me when I was down, entertain me when I was bored and enlighten me when I needed advice.

I know, I know, the image of a child spending their life in front of the TV is not particularly pleasant nowadays. Though I guarantee, there were people much worse than I was (Right?….Right? Lol) And I’ve also been smart enough to get an education, make many loyal friends and have a very successful life thus far. ::knocks the proverbial wood:: To be sure, parents need to make sure their kids know the importance of exercise, playing with other kids and having dreams for the future. Sitting in front of the TV is not living. Living vicariously through fictional characters just makes you miss out on your own life.

Still, I don’t regret having my entertainment interests. Many kids have good grades, lots of friends, maybe even good jobs…but they don’t fantasize; they don’t imagine, they don’t have dreams. They have nothing to inspire their minds. They don’t realize how much they can learn about life from classic literature, or even pop culture. I often wondered what purpose my entertainment interests have served in my life. Sometimes I felt guilty. Was it all just some silly trivial pre-occupation? Was it a sign that I had no life? Was I living in a big delusion and avoiding reality? Sometimes perhaps, hehe. But not always. I think my Mom said it best once. That I grab at these things, characters, stories etc, and take them in and learn as much as I can from there. I don’t just look to them for enjoyment. I look to them to help build my personality and decide what kind of person I want to be.

I hope there are people in the entertainment world over the years who have realized how important they can be to the development of a child and of people in general. Books, TV shows, movies, even commercials are our windows to the world. As South Park cynically put it, “Off to the movies we shall go, where we learn everything that we know. Cause the movies teach us what our parents don’t have time to say!” Now, thankfully, I did have parents who took the time to love and teach me about life. But obviously even the best parents can’t do everything. It’s also up to the rest of the world to educate and inspire children.

There’s an old Public Service Announcement from the 1970s (someday I must tell you of my love of the old PSAs, lol). First, you hear that “crinkling” noise on the soundtrack. You know what I mean, the sound you hear when a record starts, or an old movie that hasn’t yet been restored. A clear indication of the age of this clip. 

To some, it’s an immediate turn off. This clip is OLD, broken and should be thrown away and forgotten. To me, it’s one of the most beautiful sounds there is. It’s almost an introduction, a signal to respect this clip. It’s a time capsule, an artifact left behind from a lost, forgotten world that is now humbly begging to be heard again. It’s part of history and therefore part of us. It helped shape every part of who we are today, both the things that changed and the things that remained the same.

Anyway, enough of my retro-rambling, lol. Back to the PSA clip! As the song “B-I-N-G-O” softly plays in the background, we see a child roaming around the woods. Jumping on logs, climbing hills, petting a turtle, even playing a “shoot ‘em up” game. He’s an innocent, sweet little boy, curious about the world around him. Perhaps even a bit ponderous of its, and his own, purpose. Then we hear the voice- over. The typical PSA voiceover; male, deep, authoritative. The sign that the TV has decided to stop being funny for a moment and demands some serious attention.

“Kids are impressionable.”, he says. “That’s why here at this station, we watch the programs and commericals your child watches, carefully. He may see bad guys, but not in the role of heroes. He’ll learn that crime doesn’t pay. Because your child’s welfare is our concern too. That’s part of our code. The code of The National Association of Broadcasters for Television and the Greater Public Interest.”……and there it ends, that crinkling sound playing away…

It’s a lovely piece of TV history, yet it also makes me rather sad. Looking at so many programs present on Television today, including kids programs, it doesn’t look like the code is being honored to me. The conduct of “bad guys”, instead of being challenged and beaten, is being celebrated. Selfish, cruel behavior is practiced by main characters, without remorse, without worry of recrimination.

Instead of kids being taught to stand up to bullies, kids are now taught to conform and sacrifice their individuality, in order to fit in. And this conformity is touted as a strength and victory, when it’s perhaps the weakest thing a person can do.

Kindness, generosity and belief in a higher purpose in life is now labeled as corny and simplistic. Children have allegedly “outgrown” such things. We will see in the near future what such a view will have wrought on our children.

To be sure, I don’t like it when parents blame the media for their own kids’ conduct. To once again quote South Park, “We must blame them and cause a fuss before somebody thinks of blaming us!” They are YOUR kids, it is ultimately your responsibility how they turn out. Yet at the same time, the old saying is true, it DOES take a village to raise a child. In this human world, we are all responsible for each other. The media does more than entertain, it teaches and inspires. And what it reaps, we do often sow.

What the musical Into the Woods might say to parents, I also say to the world of entertainment, “Careful the things you say, children will listen. Careful the things you do, children will see and learn. Guide them along the way, children will listen. Children will look to you for which way to turn, to learn what to be. Careful before you say, ‘listen to me.’ Children will listen…”

The Psychology of Fat Albert and the Cosby Kids

Phew! Keeping a blog is harder than I thought! You have no idea what kind of pressure I’m under to keep this thing fresh and updated! Lol, anyway, I do have a few ideas in the making. But in the meantime, I will take a trip down memory lane with one of my old college papers. The topic? A much remembered and beloved ’70s cartoon show, Fat Albert and the Cosby Kids.

Even as I child, I knew Fat Albert was special; I had never seen a cartoon show which focused on African American children. Also astonishing was its willingness to focus on heavy issues, such as drugs, prejudice and even pornography!

As praised and well-remembered as Fat Albert is, I personally doubt many parents and experts would approve of such a project today. There seems to be a growing opinion in society that we should avoid “confusing” or “upsetting” children too much. You hear over and over again “It’s too scary for kids” or “Kids won’t understand.” Instead of challenging children to learn and to grow, we are protecting them and keeping them hidden. The result? I believe children are growing up not aware of very basic cultural references or concepts. They are also growing up unable to deal with problems on their own. And what’s worse, they simply don’t care. In attempting to protect children, we are failing to prepare them for life.

But that is for another entry, below is my term paper, analyzing Fat Albert and its connection to the fascinating topic of Child Psychology.

Fat Albert and the Cosby Kids premiered in 1972 and ran for 12 years (incredible run for any show!). Legendary comedian Bill Cosby based the cartoon on his own childhood in North Philadelphia. The program was aimed at elementary and middle school aged kids. Each week, Fat Albert and his friends helped someone in need, always learning something new in the process. Cosby is featured prominently in Fat Albert’s opening theme; Fat Albert himself even mentions his creator by name, “I’m gonna sing a song for you, and Bill’s gonna show you a thing or two.” Cosby talks directly to the audience in each episode, summarizing today’s lesson and interjecting interesting facts and humorous observations.

Being the first cartoon show to ever feature an all African American cast, Fat Albert was definitely an unusual show for its time. In the previous decade, animators like Peanuts’ Charles Schultz wanted to begin including African American characters but doubted their ability to do it sensitively (Thibodeau, 1989). Even now, African Americans don’t tend to dominate children’s television, more often relegated to the best friend role, or “token black guy” of a larger group.

But in the Fat Albert universe, very little is ever made of the fact Albert and his friends are black; it is perfectly normal and does not need to be mentioned. They also defy the image of violent, inner city youth. Though they do talk tough, they are responsible, caring and loyal children.

In an episode entitled, “Fish Out of Water,” the gang goes to summer camp. Upon arriving, they boys are wary of fellow campers who are Caucasian, Hispanic and Asian. It seems odd the Cosby kids would be so prejudice, considering they are normally quite friendly and open-minded. However, the implication is not that the Cosby kids are prejudice out of a sense of meanness or cruelty. But rather because they have next to no experience dealing with different cultures.

Upon seeing the different campers, Albert’s reaction is not “Oh no, white kids!” or something similar. Rather, he queries, “What kind of dudes is they?” He is simply reacting to an unfamiliar concept. This makes sense considering the lack of diversity in their inner city neighborhood. In Fat Albert’s early episodes, all neighbors, teachers, storekeepers and doctors are African American. Studies indicate that when parents make the effort to expose their children to different cultures, they are more comfortable with the idea of diversity (O’Conner, Brooks-Gunn & Graber, 2000). Cosby does stress that the boys’ parents were eager to get their kids out of the city for the first time.

By the end of the episode, the gang learns people are people despite their differences. The gang’s circle of friends further opened up later in the series after the boys moved to an integrated school. It became more common to see the kids playing ball with a white friend or two, and Fat Albert’s guidance was now open to all races. Writer Larry DiTillio says great attention and care was given to “racial mixtures to make sure that we weren’t saying that all the white kids are bad and all the black kids are good, or even the other way around.” With Fat Albert, Cosby tried to play down differences, calm children’s natural fear of the unknown and teach them to embrace all kinds of people.

Whatever its level of effectiveness, programs like Fat Albert definitely made the effort to demonstrate the positives of diversity. They encourage children to judge a person by their actions, not their appearances. But can you always judge a person by their outward behavior? Even more basic than the concept of race, is the “good guy”, “bad guy” label. It is fairly easy to tell the hero from the villain in a typical children’s show. The villain disagrees and hates the hero and tries to defeat him or her in some way. The hero is the brave, kind figure who saves the day.

If the hero and villain were children, they might fall into two distinct peer acceptance groups (Berk, 2003). Popular-prosocials (Hero) generally do well in school, make the extra effort to be friendly and helpful to peers, and are generally well liked by others. Rejected-aggressive children (Villain) like to start fights and have trouble controlling emotions; mostly they are feared and resented by their peers (Berk, 2003).

On some shows there is a character that does not quite fit either category. He or she is usually a friend of the heroic main character who simply likes to cause trouble. At first glance, this friend’s actions seem to fit those of the villain. Yet surprisingly, he or she continues to be a member of the gang. Researchers call this type the Controversial Child (Newcomb, Bukowski & Pattee, 1993). Like the Rejected-aggressive, he or she displays more aggression than most children and causes trouble in school. One would think peers would reject such a person. However, the Controversial child also possesses positive social skills and is able to maintain strong friendships. The Controversial child is an example of how things are not always black and white.

Fat Albert’s mission in life is to help people and solve problems; he best fits the Prosocial type. For the most part, he is assisted and supported by his 7 best friends. In nearly every episode though, there is one exception–Rudy. Rudy is the member of the gang who ignores Fat Albert’s advice, makes bad decisions and generally makes life difficult for the group. Some specific examples include being the first to smoke cigarettes and marijuana (“Smoke Gets In Your Hair”, “Pot of Gold”), refusing to take CPR classes (“Heart Attack–Save a Life!”), dropping out of school (“Readin’, Ritin, and Rudy”), and introducing the gang to porn (“Soft Core.”)

Even worse, Rudy does not keep such behavior to himself. He seems resentful and jealous of Albert’s leadership, and encourages the rest of the gang to “stand up to old Fat Albert!” (“Poll Time”). All this begs the question: what good does Rudy do for Albert and the gang? He certainly comes across more like a villain than a friend. However, there is hope! Despite his bad behavior, Rudy can also be supportive and loyal to Albert. His own leadership skills and self-confidence allows him to come up with good ideas. Moreover, he always feels guilty for his mistakes.

Larry DiTillio explains the show’s desire to portray their characters in a complex, realistic manner, “We tried to say the kids are the kids and this kid may be doing something bad but he’s not per se a bad kid….Rudy tended to be a mischief-maker, so he’d tend in some scripts to become villainous and we didn’t want that.”

There are also some indications Rudy’s bad behavior stems from insecurity. Fellow Cosby kid Russell often tries to deflate Rudy’s large ego, resulting in Rudy getting quite steamed. Being from a slightly wealthier family than the others (“Creativity”), Rudy enjoys showing off his new possessions. Children’s bad behavior often stems from misguided attempts to gain respect and be accepted by the group (Horne, Bartolomucci & Newman-Carlson, 2003).

Controversial characters are my favorite for their complexity, rare in children’s entertainment. Implying to children that there are “good” kids and “bad” kids in the world does help them develop their powers of judgment and forgiveness. Controversial characters teach the same lesson characters of different races do. People should be given a chance before you judge them. They are “bad” for a reason and may benefit from a little kindness and understanding.

Perhaps Rudy’s Controversial character status is most clearly expressed in the Fat Albert Easter special. Ever the trouble maker, Rudy decides to play a practical joke and accidentally seriously hurts Mudfoot, an old man and friend of the boys. Now Fat Albert has to help both of his friends get better. Part of this is understandable; Mudfoot is injured in the hospital and needs medical care and friendly support. But why would Rudy need help? He was not physically hurt and he is in fact the reason this mess happened in the first place!

Research shows aggressive children can overcome their negative tendencies if they learn to experience empathy–understand the pain they inflict on others (Horne, Bartolomucci & Newman-Carlson, 2003). Rudy feels just awful about what he did to Mudfoot. In order to help Mudfoot pay his medical bills, Rudy takes a risky job working in a scrap iron yard. Albert tries to reason with him, “You’re not going to help anybody if you get hurt…this is a dangerous place to work.” Rudy sadly responds, “I don’t care about me.”

The problem here is Rudy’s confusion over guilty versus shame. Studies show these two feelings seem similar but are in fact very different (Ferguson, Stegge, Miller & Olsen, 1999). Guilt is associated with empathy and concern that someone was hurt. With shame, people concentrate more on how terrible they are for doing something wrong. They retreat from others and sometimes engage in destructive behavior (Ferguson, Stegge, Miller & Olsen, 1999). In the end, Mudfoot gets better but just as important, Rudy learns to forgive himself. This special teaches the difference between guilt and shame and also parallels the religious Easter story of renewal.

Looking back, one gets the impression the people behind Fat Albert and the Cosby Kids genuinely cared about their young viewers. Their goal was not just to entertain, but to assist children in their journey through life.

Berk, Laura E. (2003). Child Development, 6th Edition. (New York: Allyn & Bacon, Publishers.)

Cosby, William H. (1972-1984). Fat Albert and the Cosby Kids–The Original Animated Series, Vol. 1. and Fat Albert’s Greatest Hits–The Ultimate Collection. Entertainment Rights PLC.

Ferguson, Tamara J.; Stegge, Hedy; Miller, Erin R.; Olsen, Michael E. (1999). Guilt, Shame and Symptoms in Children. Developmental Psychology, 35, (2), 347-357.

Hicks, Wayne, L. Hey! Hey! Hey! Fat Albert and the Cosby Kids. http://www.tvparty.com/satfat3.html

Horne, Arthur M.; Bartolomucci, Christi L.; Newman-Carlson, Dawn. (2003). Bully Busters–A Teacher’s Manual for Helping Bullies, Victims, and Bystanders Grades K-5. (Champaign: Research Press, Publishers.)

Newcomb, Andrew F.; Bukowski William M.; Pattee, Linda. (1993). Children’s Peer Relations: A Meta-Analytic Review of Popular, Rejected, Neglected, Controversial, and Average Sociometric Status. Psychological Bulletin, 00331909, 113, (1).

O’Connor, Lisa; Brooks-Gunn, Jeanne; Graber, Julia. (2000). Black and White Girls’ Racial Preferences in Media and Peer Choices and the Role of Socialization for Black Girls. Journal of Family Psychology, 14 (3), 510-521.

Thibodeau, Ruth. (1989). FROM RACISM TO TOKENISM. Public Opinion Quarterly, 53, (4), 483.

Lost Treasure #2: The Velveteen Rabbit (on VHS) ;)

I found something today that genuinely made me smile. An old VHS of The Velveteen Rabbit (based on the classic book). One I remembered from my childhood. Mostly, I remembered how much it terrified me! Now I know what you’re thinking, “How could you be frightened of such a sweet story about a little toy bunny?” Well I knew better. This story wasn’t cute, it was filled with all these shots of dark corners and broken forgotten toys and this creepy old rocking horse. It was melancholy and frightening, especially to a little kid. It bothered me for years; I even got in trouble for crying during a different Velveteen Rabbit cartoon! Basically, I never wanted to hear those three words in the same sentence again…ever!

So you’re probably wondering, “how did that make you smile today?!” Well at the same time, I’ve been anxious to see this cartoon again for awhile, mainly to see if I still found it scary. Well, I put the VHS in and…well to be honest…it was still kinda creepy. However, being much older now, I was able to better understand the words and the meaning. And it’s actually very lovely.

The Velveteen Rabbit is a simple toy given to a little boy. All the mechanical wind up toys in the nursery put him down because he’s not “real” like they are. But the Rocking Horse tells him it’s the love of the little boy that makes him real. The Rabbit is very happy to realize this. The Horse also tells him being real can hurt sometimes, especially when you love someone. That the more he’s loved, the more worn and shabby he’ll eventually become (because kids are so hard on the toys they love). But you won’t mind being ugly, because the ones you love will never call you that. And the ones that will, don’t understand. But unfortunately, the Rabbit finally experiences this pain when he’s thrown away (after the boy is sick, to avoid spreading germs).

The rabbit is sad and thinks being real (and hence being loved) is horrible, if you have to grow old and ugly and eventually loose the ones you love. He sheds a tear, a real tear, which causes the Nursery Magic Fairy to come. She tells him the love of the boy has truly made him real and she finally turns him into a real rabbit. Little by little, he starts to move and become aware, it’s a very sweet moment. She tells him, “There are no endings, only beginnings.” 

Now I realize, the story is really about the joys and pains of life. It’s basically saying you’ll know you’re alive and loved, not just through the joy, but through the pain you feel as well. If there is never any pain in life, there is no love either. But also that pain will always give way to joy in the end.

So, I’m very happy to have had this opportunity today, to finally get some closure on the story of The Velveteen Rabbit. I’m not so afraid of it anymore; in fact I actually like it, very much. In a way, it sort of goes along with the story. The cartoon (like life) may be a bit scary and painful, but there’s also so much to get out of it. In fact, I think that’s what I’ll tell my future children when I show them this wonderful show…