September 10, 2022September 10, 2022 by EditorM Saturday Morning OYs – September 10th, 2022 (Not a Cidu), Oy 1 and Done, Barney & Clyde, Beetle Bailey, Dave Whamond, Eric Scott, For Better or For Worse, J.C. Duffy, Leigh Rubin, Little Dog Lost, Lug Nuts, Lynn Johnston, Mark Parisi, Mort Walker, Off the Mark, Reality Check, Rubes, Steve Boreman, Weingartens & Clark 35 Comments Several OYs from Andréa who says “Today must be Pun Day, rather than Labor Day . . . altho some of these puns could be considered quite labored . . .”. Pedants / experts, have at it! And another batch stamped “From Andréa” : Related
I didn’t notice the “piety” pun in the Rubes comic until it showed up here.
P.S. I’m not sure whether “monkey bar” is supposed to be playing on the climbing fixture, or the song line “…show me the way to the next whiskey bar”. Opinions?
It might have been even harder to notice by those of us who say “pee-ity”. Except that the spelling forces a connection.
P.P.S. The problem with “monkey bar” as a reference to a “jungle gym” is that I’ve never heard it as a singular noun: it’s always “monkey bar b>s”.
P.P.P.S. Nuts. The link works, but it was supposed to read “monkey bars“.
“…show me the way to the next whiskey bar”.
Much as I likethe Doors’ imitation of Kurt Weill, and play it often [well, I don’t; the Sonos does], I don’t understand how one leads to another.
Oh don’t ask why
Funny!!! Thanks for the morning chuckle.
I agree with Andrea that Kilby’s chain of association is more of a Non Sequitur. (However, I demur at “imitation” — Andrea, it’s called a cover.)
This just proves what I’ve said so often . . . you can ALWAYS learn something from following comics (and particularly CIDU) – I NEVER realized it was originally a Kurt Weill song –
and others – I really thought it was something written by Jim Morrison, et al, ‘in the style of ‘Kurt Weill.
From the ever-useful Wikipedia, for anyone who is interested: The “Alabama Song”—also known as “Moon of Alabama”, “Moon over Alabama”, and “Whisky Bar”—is an English version of a song written by Bertolt Brecht and translated from German by his close collaborator Elisabeth Hauptmann in 1925 and set to music by Kurt Weill for the 1927 play Little Mahagonny. It was reused for the 1930 opera Rise and Fall of the City of Mahagonny and has been recorded by the Doors and David Bowie.
I should’ve known better, as I like KW’s music. Thanks for that heads up, Danny Boy.
PS. I don’t know which is creepier in the version I referenced previously – the music or the sort-of video, or maybe the combination of the two.
OK, I’ll take up the Lug Nuts challenge and offer this pedantry. There are two different dishes (or one dish and a family of others) blended in the name being rebussed under the title “Moo Shoe Guy Pan”. There is one dish generally written in English contexts as Moo Goo Gai Pan, as described at for instance https://theforkedspoon.com/moo-goo-gai-pan/ . And then there is a different dish, or rather family of dishes, generally written in English contexts as Mu Shu or Moo Shu, for instance Mu Shu Chicken or Mu Shu Pork, using thin pancake-like wrappers generally filled and folded at the table by the diner themself – https://www.foodnetwork.com/recipes/mu-shu-pork-recipe-2103265
It’s Beetle’s turn in the barrel.
The full-page YouTube entry for that video includes this helpful comment on the artwork:
1 year ago
For anyone wondering the artwork:
It’s an illustration from the book: Niels Klim’s Underground Travels
The one here comes from the Illustration showing a citizen of Martinia wearing a wig, from the 1845 English edition.
Yes, the artwork in itself is a bit creepy, but for me it was more the oddly distorting animation cycle.
“. . . but for me it was more the oddly distorting animation cycle.”
I didn’t realize that wasn’t a Doors original. Makes me feel a little better about Morrison knowing that he didn’t write the lyrics “show me the way to the next little girl”.
You must be reading my mind. When it was originally done by the Doors, I never EVER gave it a thought; now, I’m thinking of pulling it out of my SONOS playlist ’cause it’s the first thing I think of whenever it plays, which is usually once/day, altho I’m not always around to hear it.
SEGUE WARNING: Whenever I see King Charles III (and especially now that he’s king), the FIRST thing I think of is the [hacked] phone calls between him and Camilla . . . he kinda lost any dignity he may have had at one time once those were released. And they aren’t embarrassed to appear in public??!!?! I’d be mortified.
Is Beetle breaking the fourth wall and apologizing to the readers in the final panel, ala Stephen Pastis? Or is it directed to Sarge in hopes of freeing Beetle?
I interpreted it as breaking the fourth wall in apology to the readers.
@ Mark & Andréa – My apologies if this destroys your illusions, but the original line was actually “Show me the way to the next little boy…”, Morrison changed “boy” to “girl”.
The “next little boy” verse begins at about 1:32 of the video posted earlier by Andrea.
Here is another YT clip, with the same audio I believe, but the video is a still of KW and LL.
I appreciated as clever, and thought I fully understood, the Mark Parisi one,.. until I read the caption. I don’t really remember what the quote is from; maybe that would help.
Ah! I got it when I realized the scene was an audition. If the line isn’t an actual quote, I feel Parisi did a great job of making it sound like memorable one.
@ Kevin A – I don’t think it’s a real quote, but it refers to the dubious reputation of sausage contents. As Bismarck is reported to have said: ““Gesetze sind wie Würste, man sollte besser nicht dabei sein, wenn sie gemacht werden.”” (Laws are like sausages: it’s better not to be around when they are being made.)
The Alabama Song and The Benares Song, both from “Mahagonny”, were both written, published and sung in English even though the rest of the opera is in German. I thought Brecht wrote them originally in English. Or maybe he wrote them earlier in German and used the English translations in the opera. Intentionally or not, the translation is somewhat inept: “There is no boy to shake with hands” and “Worst of all, Benares has been perished by an earthquake!” both from the Benares Song.
I’m a long-time fan of Brecht and Weill and listened to the old recording of Mahagonny long before I learned of the Doors’ version.
When we immigrated to the US, my parents brought along a recording of ThreePenny Opera, with Lotte Lenya, so I heard the music from an early age. Mack the Knife is, however, what made the music more known in the US.
When I was in eighth grade, our class (the seniors) performed the Kurt Weill opera, Down in the Valley. (possibly written for schools?) It used a collection of old folk songs with more dramatic harmonies. I think the the music teacher made a wise move by not referring to it as an “opera” (back in 1970).
(The harmonies were challenging for me because Weill had reduced the notes to pentatonic-only. (Thanks to the glorious web, I just now discovered that Weill had a bent for pentatonic harmonies. Until now, I’d thought they were simply minor chords. All I knew, even now, was, “this is not my sisters’ “Down in the Valley””)
The name is ripe for confusion ….
BTW, Wikipedia says for this one: “Vile grew up in Lansdowne, Pennsylvania, a suburb of Philadelphia, and is the third oldest of ten children born to Charles and Donna Vile. Although his surname is occasionally assumed to be a pseudonym and a pun on German composer Kurt Weill, it is his real birth name and the similarity to Weill’s name is a coincidence.”
And no relation to Johnny Rotten?
… or Sid Vicious?
As much as I have enjoyed opening the “doors” to this
vile“Weill” rabbit hole, does anyone have a better solution to the original “monkey bar” problem?
P.S. I would have enjoyed comparing the original German lyrics, but it appears that they are only available “offline” (in Brecht’s original “Hauspostille”).
… or Richard Hell?
We saw “Three Penny” when it was on Broadway with Raul Julia in the lead back in the 1970s or 80s.
We have also seen “The Beggars’ Opera”, an 18th century British play which Three Penny is based, on at Colonial Williamsburg and also (on TV) a 1953 movie version of it with Laurence Olivier in the lead. There are big plot differences between the English version and Brecht-Weill version – though I can no longer remember what they are.
@ Meryl – I think you may be basing your impression of the “differences” on alterations made for the movie, rather than the play scripts. I’m not really qualified to judge, since I don’t particularly care for Brecht and his political ballast, but according to the material I’ve read since this thread started, he based the plot of his “Dreigroschenoper” fairly closely on Hauptmann’s German translation of the “Beggar’s Opera”. The music was changed completely, of course, but since the original play was based on 18th century popular tunes, it’s not surprising that these would be swapped out (especially because of the change in language).
I think the most amusing detail that I’ve learned so far is that “Mack the Knife” was a last-minute addition to the play (at the request of an actor who wanted a more impressive entrance), but went on to become the play’s most famous number.
Brecht was known for his satire and cynicism, but he didn’t have to add much satire or cynicism to the original “Beggar’s Opera”. Here’s Peachum in the original, voicing his opposition to his daughter’s proposed marriage to MacHeath: “Do you think your Mother and I should have liv’d comfortably so long together, if ever we had been married?”
Kilby – sorry I was not clear. I presume the play was closer to what it should be than the movie.
There is also a movie version of “The Beggar’s Opera” from maybe the 1940s or so that R found somewhere online with a British cast.