I’ll Make ’em Laugh: The Spice of the Program

Pam’s Pictorama Felix Post: As promised, today we have a very Felix day! These two sheets were a long time coming to Pictorama. First they sat on eBay for a long time while I was distracted by other things, and then I finally purchased them and then it took several weeks for them to arrive. I tend to hesitate before committing to very fragile paper items, but in the end I claimed them as mine. I am spying a spot at the top row above Kim’s desk, a bit hard to access, but not too much light. Could be just right. They are great. Here we have Felix at the zenith of his come hither appeal plying his trade to good use.

Both of these sheets of advertising are from Moving Picture World magazines and I will admit that I find the cutting up of these journals to sell for separate pieces distressing, although I understand some are likely worth more for their parts individually. These are fascinating journals in their entirety and I have purchased many a copy of the ancient periodical for Kim, mostly from the ‘teens, and I believe there is even a bound volume of them in the house, that I dimly remember picking up as a gift for Kim, out of an apartment somewhere in Chelsea. These pages have been carefully removed by the staple being taken out of one and a clean cut on the other. The one emblazoned, Felix the Cat Cartoons is from November 21, 1925 and the other is from July 7, 1927.

In the first Felix shows all his moods, like an actor auditioning for a part: thinking, musical, angry, worried and intellectual. He is shown horizontal on all fours (in what I think of as a catty pose) and even chasing a mouse at the bottom. Although he might be going through his paces for this ad, he was already at the height of his fame and auditions were hardly necessary. Here he proclaims, Put me on your screen and see what a bright little fellow I am. My tricks will put your audiences in the best of humor – and I’ll make ’em laugh nine times as many times as a cat has lives. I’m doing it now in five thousand theatres. Felix And below that the added encouragement, Felix means extra profit for the showman who exploits him.

Felix had recently made the jump to Educational Films (the spice of the program) which is mentioned here prominently at mid-page, as is a produced by credit for Bijou Films, Inc. EW Hammond is presenting up at the top (President of Bijou Films) and of course Pat Sullivan gets a huge credit with Cartoons by right next to a Felix running right at it. (That’s a lot of credits for one animated cat, even one as big as Felix. Not surprising, but sadly of course, no mention of Otto Messmer, Felix’s true progenitor.) Felix made 20 cartoons in ’25 by my count via Wikipedia’s filmography (about half before switching to Educational Films for distribution that year), and more than 20 the year before alone so production was in full tilt and there was plenty to watch.

One real gem from 1925 that I uncovered while doing some light research on that year was a nifty full length cartoon made for Mazda Lamps, The Cat and the Kit. It is 98% cartoon with only a smidge of commercial and is definitely worth the watch below. The story follows Felix on his wedding day and the drama around the headlights on his car (called lamps at the time and were much more like lamps than the headlights we have now) which keep going out. He is forced to buy inferior replacements and those don’t focus – requiring Felix to resort to snatching the moon out of the sky – only to be told by a policeman that there is no driving with moonshine in the car!

I can’t resist detouring over to Mazda Lamps for a moment, I’m sure Kim and I are not the only ones still shaking our heads over the beautiful Mazda Lamp display uncovered awhile back on the television show, American Pickers. One is shown below from a site called Design is Fine. History is Mine.

The second sheet, from ’27, shows a parade of Felix-es bringing us all the short features Educational Film Exchanges had to offer. As an avid fan of silent shorts I recognize some – Larry Semon and Lupino Lane. (Kim knows more of them and reminds me that John Arthur was Darla’s father of Little Rascals fame. Remember, Feed ’em and Weep, featuring Mr. Hood on his birthday trying to eat his celebratory meal?) Some are a loss to me such as Tuxedo Comedies or Mermaid – evidently series of comedies that folks, such as Snub Pollard and Lloyd Hamilton, would have come and gone through.

Felix’s own shorts are listed at the top and the large sign he holds up front, mounted on a striped pole, is for Educational Pictures. Meanwhile, I especially like the sign which is pointing toward 1927 and ’28 at the bottom. Pat Sullivan only gets a signature credit here (as if he had drawn it). I see 26 films listed in 1927 for Felix so he was certainly going full steam. I include one below in order to give equal time to 1927, Whys and Other Whys, which kicks off with a soused Felix leaving a nightclub. Watch these while you can – these links to Youtube don’t seem to last forever! (Although a quick search may turn up another source if these have disappeared.)

We are invited to Fall In! and Travel with the leaders of the short features parade. The art on this advertising sheet is hotsy-totsy – it is always a favorite moment of mine within the cartoons to see a virtually never-ending cycle parade of Felix. If studied carefully, two Felix-es on the sheet have been a tad mangled, you can note that the second largest (holding the Lupino Lane placard) and one about mid-page (with the Larry Semon ad) have had a bit of what looks like ham-handed revisions around the eyes. Not sure what anyone was thinking to improve upon Otto Messmer’s genius. (Just a note as well that some of these Felix’es only sport whiskers on one side of their face.)

The back of the ’25 sheet sports an article entitled, The Bar-G Mystery, New Western Patheserial Now in Production (Kim checking that one out in a book now), and ad for the Charlie Chaplin release of A Dog’s Life to be released on November 22, and a rather terrifying ad for Buster Brown with Buster and Tige looming large. Short pieces appear on the recovery of Walter Hiers from an injury sustained during filming which almost cost him his hand according to the article, and announcing Clyde Cook to appear in a new comedy. The verso of the ’27 sheet is an add for volumes on photography by the folks at Motion Picture Photography – one for professionals and the other for amateurs.

Tommy José Stathes (@tomatitojose) has just released the latest in a series of brilliant Cartoon Roots DVD’s featuring some new restorations of rare early Felix cartoons! It can be purchased on Amazon here. I am on the edge of my seat waiting for mine to arrive. His earlier DVD’s are also being re-released and can be purchased here. A bit of a review of one of those earlier DVD’s can be found in a prior Pictorama post here. And on that note I believe I have kicked off the year of ’21 as a Felix friendly one – enjoy!

Out with the Old!

Pam’s Pictorama Post: This year’s holiday card, drawn by me and inked by Kim, is a glimpse into the reality of Deitch Studio – it really looks exactly like this! (Full disclosure, no Christmas tree, not even a small one. There really isn’t a square foot for even the smallest one.) This year’s card is more of a New Year’s one – recognizing the year that has been as we hope to kick it aside in favor of the coming one.

I recently wrote for a Jazz at Lincoln Center member newsletter that 2020 was rare to reflect on a departing year that could be considered universally horrid, but that is what this year has been. Folks have suffered egregious pain and loss from the pandemic, howled with protest in the streets despite it, and went back out into it in order to stand on line for hours to vote. We saw dancing in the street here in Manhattan when the Presidential results were announced, but like all things in 2020, even that has proved to be a torturous and rocky road on the way to resolution.

Much will be written about the year 2020 in the future I think, but for now behind that everyone is still dealing with it and the additional backdrop of everyday struggles which continued apace – one friend reports bedbugs, another has a parent diagnosed with dementia, a third falls and lands in the hospital – and all this in the past week. For many, 2020 is the year that just won’t quit, even as we reach the bitter end. The backlash likely to sweep well into the beginning of the New Year.

There are undeniable bright spots though and commuting by walking ten feet across our studio apartment has been lovely. We joke about it and friends and acquaintances marvel at it, but really, if you have already lived in one room with someone for decades doing it twenty-four hours a day isn’t much different, at least for us. Last March I was deeply tired from too much travel and many late nights at work and I have been enjoying my regular routine and seven hours of sleep nightly – frankly being told I would have to stay home and cancel all upcoming travel was not entirely unwelcome. (Earlier tales of quarantine life at Deitch Studio can be found here.)

The Deitch Studio-Pictorama collaborative holiday card for 2020!

I resumed all cooking duties and we have not only eaten right, but we’ve eaten quite well and my newly restored interest in baking has packed on pandemic pounds which I am now seeking to banish. (It is hard to develop a sense of urgency about it however when my days are generally spent in work out gear from the waist down. Baking posts can be found here and here for starters. I am munching a spice cookie from last week’s cooking adventure as I write this.)

Cheesy olive bread – an early pandemic favorite.

I am fortunate to have a job and also to be able to work from home – Kim has of course always worked here and was the one who had to adjust and make room for me. Workdays have been long, sometimes starting at 6:30 AM and with the evening still finding me at my computer, iPad or phone, but without having to go any place it has allowed me to hone the work down to what is essential and a core fundraising message and method. Talking on the phone almost incessantly is a reality for me and, admittedly with a few bumps along the way, we have found accommodation.

Wynton Marsalis and I are on the phone so frequently that I joke that sometimes it is as if he is a third person in the apartment – asking after him always or shouting a jaunty greeting to Kim as he signs off a call, Kim tossing out the occasional comment when brought into the conversation. Kim now recognizes the sound of each person’s voice, not just on my team, but for the better part of the entire Jazz at Lincoln Center administrative operation. He listens to Susan and I discussing incoming funds and sometimes lack thereof; as Gaby and I working through a litany of media requests; me addressing my staff in meetings and sometimes even the weekly all staff meetings for the organization. Kim never thought he would know so much about how I spend my workday.

The flea market purchase of a Ruth Fielding novel that kicked off my reading of that series.

I think we will remember this year and shiver in remembrance of days and nights of ambulance sirens and deserted streets here, but I know we will also look back on it as a gift of time we never expected to have, tossed into our laps like a rough nugget of gold, waiting for us to figure out how to forge it into something. We have made good use of our time I think – been productive in our work – fundraising as always for me (if more urgently than ever), art as usual for Kim as he plows well into the next book. What downtime we’ve had has been spent reading – Kim finishing the last of the available Little Orphan Annie strips with regret, me working my way through wakeful nights reading escapist juvenile fiction of the early 20th century, Judy Bolton and now well into Ruth Fielding. (A post about my Judy Bolton pandemic days reading can be found here and here, and while a review of Ruth Fielding is in the works, I mention her in my post about the Miss Pat series and it can be found here.)

Early version of the lucky waving cats that adorn my desk.

Our two cats, Cookie and Blackie, have more than adjusted to the change in human habits and all memory of the “before time” has been erased from their respective tiny feline memories. A real ham, Blackie comes running for Zoom calls on camera, meanwhile Cookie sleeps under my laptop which sits on an elevated shelf which Amazon delivered (along with a world of other things) months ago when my back kept going out. She curls up under the warmth of the desk lamps and between the two waving lucky cats (one recently retrieved from my office), cat kissing them occasionally – and then mystically, in the late afternoon, I look up and it is Blackie there instead. (A post about the lucky waving cats can be found here.) The cats are frankly shocked if Kim and I leave the house for any period of time now. We find them waiting anxiously by the front door when we return.

Blackie and Cookie perched on my desk, awaiting dinner recently.

As I write this I am adorned in an ancient black hoodie that is years old, but has seen almost daily wear in recent months. I am wearing a wonderful pair of silky pj’s on the bottom, a recent purchase from the Gap, they are adorned with stars – a weekend luxury to be in them still so late in the morning, although I could live in them I actually make a point of getting fully dressed, as such, for workdays. Admittedly my “hard pants” and office clothes are now mostly providing nests for generations of moths I have not had the energy to deal with. (Moths are my version of the 2020 pestilence story.) I suspect by the time I get back to them I will chuck most of the whole lot anyway.

Blackie takes over the computer one morning.

What does 2021 hold for us and how will we adjust and meet the challenge of finding our way in the next iteration of the world? I think about it often. We have all changed in the crucible of these strange days and I don’t think anyone will emerge from it the same or unscathed. I remind myself that we will emerge from our cocoons at some point (we certainly hope in 2021), and as our new selves step out into the world to be whatever we have become during these long, hard but interesting months. Here we go then, out with the old and in with the New Year!

Felix Match

Pam’s Pictorama Post: This item comes to us via Instagram and a lovely woman named Sandy who is one of the owners of a store in Dallas, Texas called Curiosities (@curiositiesantique or getcuriosities.com) and who reached out with a photo of this great Felix match holder which I had to have, well, immediately. We spoke on the phone and I had tucked a number of other items into my virtual cart before we were done – more on those in the weeks to come. Turns out Sandy is a fan of Kim’s work and follows the comings and goings of life here at Deitch Studio and knew that a piece like this Felix would be catnip to us at Pictorama – and she was right!

Decorated package from Curiosities

These off-model Felix pieces are like primitive art and it is hard to say if they were made from designs, maybe in magazines, or were just simply made items pounded out and sold, capitalizing on Felix’s appeal and flying under the radar of the copyright cops. Years ago I wrote about the East End of London shops which turned out some of my favorite gleefully free-form mohair Felix toys (almost assuredly not licensed) as a way of employing indigent women in the East End of London. (That post can be found here and is a favorite. I wrote about another such homemade piece, shown below, which can be found here.)

Another recent acquisition I wrote about back in August which smacks of being homemade from a blueprint or kit.

Matches played a bigger role in the world in early 20th century life than we may remember today, living now in a world of lighters and probably less of a need for them in general with less cigarette smoking and all. Among my prized possessions are two feline versions of what are known as “match safes” – these designed for keeping your matches dry and handy – and, in a word, safe. I have written posts on those two here and here. (Meanwhile, if you want to be entertained by the story of matches I suggest the 1932 pre-code film The Match King, based on a true story, which takes on the premise of getting rich, one match via manipulation and a monopoly on the match market.)

Pams-Pictorama.com collection
Pams-Pictorama.com collection

This Felix match holder feels like it was made commercially, if perhaps by a small enterprise. The wood is very light. I like the addition of this fang-y sort of gap tooth grin and the four decorative whiskers. The face looks as though it was sprayed on through a stencil of sorts. He has some wear on him and it would appear someone reached in for many matches over time, wearing the white paint of the cup away almost entirely. The place where he hung from a nail on top, is almost worn through – probably pulled a bit on the nail when matches were taken each time. It is my only hesitation about whether he hangs in the kitchen or remains with the toys in the other room.

Of course this object speaks to the day when stoves were lit with wooden matches every time they were used. The Apartment with Jack Lemmon and Shirley MacLaine was on yesterday and I overheard the snippet where he runs up the stairs in a panic because he smells gas and she has turned it on without realizing that it required manual lighting each time. It was a bit old fashioned even when that film was made in 1960, self-lighting gas stoves probably having been introduced into newer models as a safety measure, but older stoves not yet replaced.

While my ancient gas stoves in my first apartments were technically self-lighting, I can assure you that both my apartments in London and my first in New York frequently needed a prompt from a match to get going. In fact the immediate predecessor to my current stove had a pilot light that went out frequently enough that I have a box of wooden matches in the kitchen drawer right now – somehow using a lighter for that task never seemed entirely safe. Even if he hangs in the kitchen I will not tax him with holding onto our matches and it would be nice to bring a jolly touch of Felix into our kitchen.

Collaboration

Pam’s Pictoram Post: Today is something Pictorama readers really have not seen before – a true collaborative moment in Kim’s work between the two of us! While it is true that our holiday card is an annual collaborative effort (this year’s card is sitting half finished on the couch in pencil as I write, for those comics interested readers who are new to Pictorama, last year’s card reveal can be found here). Additionally, one or two of my bits of writing have been illustrated by Kim (see the appendix of Reincarnation Stories, and my own reincarnation tale – or catch it up here), this marks the first time a whole idea of mine has shown up.

The 2019 Holiday card, a collaborative Deitch Studio/Pictorama production.

Taken from Kim’s next book, How I Make Comics, these pages are an actual story of mine, told in my words, but embedded as part of a longer book length story. More or less just how it unfolds in the book, we were together one night at the Q train stop on 57th Street waiting. I was watching the rats frolic on the tracks and pointed them out to Kim. I have a mixed relationship with rats – mostly fear, but also respect for how smart they are and how adaptable.

Fair to say I take the, I’ll stay in my lane and you stay in yours, Mr. Rat, approach to our ongoing, symbiotic life in a big city relationship. Of course, having grown up on the water and beach, water rats were a part of my childhood and I was cautioned about them in a way that added to whatever fear of them I might have developed on my own. Water rats are significantly larger than their city counterparts (at first I thought city rats were large mice when I got here and saw them frolicking among the garbage pails on an alley), and our story is not about them today – although I may also have a water rat story lurking in me somewhere too.

Anyway, the real life story, which is largely accurately reflected in the book (although it takes you down the usual Deitch rabbit hole shortly after), is that I went to work the next morning, got off as usual at 57th Street and found myself reflecting on the subway rats again as I walked to my office. This story evolved quickly in my mind on that short walk and I shared it with Kim the next morning. (My early morning routine of coffee, paper reading, Kim working and our talking as well as my commute – back in the before world when I had one – has been expounded upon here. In addition, for comics fans, Kim’s process was thoroughly examined by me after the release of his most recent book, Reincarnation Stories, and that post can be found here. That post is a real companion piece to this one and if you haven’t read it and find this of interest, now would be a splendid time.)

As it would happen, it is a story of rat reincarnation. I will confide that Kim has frequented told tales of his friend since childhood, Tony Eastman, who kept rats as pets at one time and what excellent pets they made – smart and likable. (A special memorial nod to Tony who to our great sadness died very recently.) The downside of this ratty relationship is that rodents cycle through their lives at a very fast pace. Now, on one hand, if they didn’t the human race would rapidly be overtaken by them with their prodigious reproduction and cunning survival instincts. On the other hand, as Kim points out, it makes it a bit sad to become attached to them as pets. Just as you get attached, they die. I was thinking of that when this story came to mind.

Preview of How I Make Comics, by Kim Deitch. Copyright, Kim Deitch.

As a student of reincarnation, I got to thinking – you have the sort of classic prisoner in a cell with only a rat who he befriends. Sadly, the rat dies – as rats and I guess we all do – and he is bereft, hesitant to invest his affections in the next one that comes along, yet finally he does. Ultimately that one, and the next one, die as well, but slowly his affection and time invested in teaching the rats is rewarded by increasingly smart generations of rats because in fact it is the same rat, reincarnated. They are gaming the evolutionary and karmic wheel by cycling through rat lives with dispatch. Eventually, the rats surpass him on the wheel of reincarnation and when he ultimately dies, he becomes an elevated rat, now under their tutelage.

Preview of How I Make Comics, by Kim Deitch. Copyright, Kim Deitch.

It struck me as a particularly Deitchenian story so I shared it with Kim the next day. Although intrigued, at first he was reluctant to do another reincarnation story, but then it took root in his imagination and to my surprise he decided not only to use it, but to use it as I wrote it out – and here are two pages from it, for your preview pleasure!

There we have it – a rare view into the inner workings of Deitch Studio. As Kim just reminded me, I have to some degree, in his words, been back-fielding on his work for years – I had forgotten that the title of Reincarnation Stories was my idea. I have always approached this thoughtfully though. After all, as Kim Deitch’s biggest fan, I had no desire to change anything – to damage it unintentionally with my influence. However, years spent together, living a largely Deitchian world existence in this one-room apartment, was bound to have an influence. And today, for the space of a post, we pull back the creative curtain for the speculation and erudition of Pictorama readers.

French Felix with Jean Mitry

Pam’s Pictorama Post: For readers who feel like maybe there has been a lot of wandering around in these Pictorama posts lately, I have a very Felix-centric post for you today. I scooped up this single page a few weeks ago. I don’t read French so I pressed our friend Rika Deryckere into service and she was kind enough to do a splendid job of translating this for me (and Pictorama readers) as presented below. Thank you Rika!

Much to my surprise, it is a philosophical opining on our friend Felix the Cat by the French theorist, critic and film maker Jean Mitry. Mitry (1904-1988) has a small bio on Wikipedia citing him as the first person to take French cinema out of the club and into the university. He authored several books, film philsophy, critique and semiotics, and was the co-founder of the Cinémathèque Française. There is an annual award in his honor at the Pordonne Film Festival, given to individuals who have distinguished themselves in recovering and preserving film heritage.

This page was carefully removed from wherever it appeared and has come to me with no indication of the magazine it was excised from. Some of my more erudite film readers may know a lot more about this and I invite you to share if you do. It was certainly my introduction to it. I love the way it is illustrated and some of the non-Felix cats intrigue me.

Detail from Deja Vu in All Waldo Comics, Felix and Waldo make their plan.

Meanwhile, in a strange nexus of worlds, Kim points out that the passage where Mitry talks about Felix dividing himself into many and then coming back together brings us right to Waldo’s origin story. It is found in Deja Vu, most easily found in the collection All Waldo Comics.

There it seems Felix (yes, Felix), working for the CIA at the time, recruits Waldo and under Felix’s tutelage somehow the nine lives of cats becomes multiple Waldo – who in turn need to be dealt with in Waldo-Deitchian fashion. Hence, for those of you who have wondered, the reason that Waldo sports a #1 on his chest, as he is the original…and the universe here at Deitch Studio spins merrily forward! I share a few sample pages above and below from that story – and then onto the translation.

Early color reprint from Deja Vu

****

Le dessin animé

The Animated drawing

Félix – le – chat

Felix the cat

La gloire des vedettes est menacée. Un être étrange est apparu. Plus malin et plus simple, il s’est emparé du cinéma en sautant à pieds joints au beau milieu de l’écran.

The glory of the stars is threatened.
A strange being appeared.
Smarter and simpler, he took over the cinema by jumping with both feet into the middle of the screen.

Tache d’encre tombée du pinceau de Patt Sullivan, il s’est étalé sous la forme d’un chat. Ne me demandez point pourquoi on le nomme Félix, nul ne le sait et lui il s’en moque. Personnage important il n’écoute que lui-même, agit à sa guise, suit sa fantaisie, sans avoir de compte à rendre à personne.

Ink stain from Patt Sullivan’s brush, it sprawled out in the shape of a cat. Don’t ask me why he is called Felix, no one knows and he doesn’t care. An important character, he listens only to himself, acts as he pleases, follows his fantasie, without being accountable to anyone.

Il vit à l’ombre du pinceau curieux qui l’entraîne dans les plus folles aventures et le rattrape au vol après avoir fait mine de l’abandonner. Cependant il n’est jamais en peine de quoi que ce soit.

He lives in the shadow of the curious brush that takes him on the craziest adventures and catches him in flight after pretending to abandon him. However, he is never at all worried about anything.

Etre surnaturel, il trouve toujours toute ressource en lui-même et possède la faculté d’agir sur sa personnalité.

Supernatural being, he always finds every resource in himself and has the ability to act on his personality.

Changeant selon les événement, grand ou petit, terrible ou misérable, il se promène au milieu d’un monde créé pour lui.  Héros d’un univers magique, incarnation du miracle et de la légende, le voici qui s’élève sur le bout de petits pieds et lance par-dessus la balustrade des nuits un bonjour en copain à son grand frère Charlot. Mais, Félix, avantagés par les facultés invraisemblables de son aventure, évite d’une pirouette les cataclysmes les plus épouvantables, — mieux, il s’en sert pour triompher de ces ennemis en les retournant contre la logique.

Changing according to the event, big or small, terrible or miserable, he walks in the middle of a world created for him. Hero of a magical universe, incarnation of miracle and legend, here he rises on the tip of little feet and over the balustrade of the nights says hello as a friend to his big brother Charlot. But, Felix, favored by the incredible faculties of his adventure, avoids the most appalling cataclysms with a pirouette – better, he uses them to triumph over these enemies by turning them against logic.

Et celle-ci, la ridicule pipelette hargneuse qui vous oblige à se décrotter de toute poésie avant de rentrer chez soi, si fière de sa raison, loge étriquée, monotone et sans air, la méchante logique disparaît dès qu’elle le vois poindre à l’horizon.

And this one, the ridiculous surly blabbermouth which forces you to get rid of all poetry before returning home, so proud of its reason, cramped, monotonous and airless, the evil logic disappears as soon as it sees it dawning at the horizon.

Car Félix porte avec lui tous ces petits lutins espiègles que l’on nomme insouciance, féerie, irréel, imprévu, mystère-du-temps-présent, esprit-de-contradiction. Et la mégère rentre dans sa tôle car il est, lui, le champion de la liberté et de la fantaisie, son ennemi triomphant.

Because Felix carries with him all these mischievous little elves that we call recklessness, fairyland, unreal, unforeseen, mystery-of-time-present, spirit-of-contradiction. And the shrew comes back to his senses because he himself is the champion of freedom and fantasy, his triumphant enemy.

Il a battu en brèche les vieux préjugés asthmatiques, les convictions ancrées dans leurs tanières de certitudes comme les crabes dévoreurs de poissons.

He shattered old asthmatic prejudices, convictions anchored in their dens of certainties like crabs that eat fish.

Il est vainqueur. Et quand il paraît au coin de la page blanche, il se demande sous quel aspect il va se mettre en scène afin de mieux pouvoir tourner en ridicule les choses que nous croyons immuables et qu’il se charge de transformer malgré elles selon son imagination ou son caprice.  

He is victorious. And when he appears at the corner of the blank page, he wonders in what aspect he is going to stage himself in order to better be able to ridicule the things that we believe to be immutable and that he is responsible for transforming in spite of them according to his imagination or his whim.

Je me souviens de l’avoir rencontré au carrefour d’un village en quelque lieu de féerie nocturne. La drame rôdait sous l’aspect d’un chien râgeur, amant de la belle.

I remember meeting him at the crossroads of a village in some fairy-tale place. The drama lurked in the guise of an angry dog, lover of the Beauty.

Surprit, Félix tombe, mais il se ressaisit bien vite. Il veut vaincre, il veut être plus fort que lui-même. Et voici que s’opère le miracle : il se dédouble, il se multiplie et devient plusieurs «  lui-même » qui tombent à bras raccourcis sur le chien jusqu’ à plus soif.

Surprised, Felix falls, but he quickly pulls himself together. He wants to win, he wants to be stronger than himself. And here is where the miracle takes place: it splits, it multiplies and becomes several “itself” who fall with short arms on the dog until the end.

Après quoi tous les petits Félix seconds, satisfaits de leur rôle, rentrent les uns dans les autres et redeviennent l’unique Félix-le-chat.

After which all the little Félix’s seconds, satisfied with their role, fit into each other and become the unique Félix-the-cat again.

Et Félix possède toutes choses aussi bien que lui même. Il est dieu.

And Felix owns all things as well as himself. He is god.

Il agit sur tout et sur tous. Il n’est pas de désir ou de volonté si apparemment impossible ou invraisemblable qu’il ne puisse satisfaire, et qu’il ne satisfasse.

He acts on everything and everyone. There is no desire or will so seemingly impossible or implausible that it cannot satisfy, and does not satisfy.

Triomphe de l’illusion, de l’arbitraire, de l’acte libre. Triomphe de la poésie dans ce qu’elle a de plus secret, de plus inattendu.

Triumph of illusion, of arbitrariness, of free action. The triumph of poetry in its most secret, most unexpected.

Seul au monde, Félix peut dire : « Je m’abstrait, donc je suis », et je suis quand je veut, où je veux et comme bon me semble.

Alone in the world, Felix can say: “I abstract myself, therefore I am”, and I am when I want, where I want and as I see fit.

Poète surréaliste, plus fort qu’aucun autre, il vit son propre rêve. Il jongle avec les étoiles et transforme tout à son image. Aperçoit-il la « belleé tout en haut de l’Inaccessible » dans les nuages, si haut, si loin qu’il ne puisse y parvenir?

Surrealist poet, stronger than any other, he lives his own dream. He juggles with the stars and transforms everything in his image. Does he see the “beauty at the top of the Inaccessible” in the clouds, so high, so far that he cannot reach it?

Que feriez-vous à sa place? Eh bien, il attrape son regard, son regard qui fixe sans cesse ce joint si haut, l’accroche à une branche d’arbre et poursuit sa marche élastique sur ce fil conducteur.

What would you do in his place? Well, he catches her gaze, her gaze wish is transfixed, joins so high, hooks it to a tree branch and continues its elastic walk on this common thread.

Il se sert même de ses points d’exclamation et les transforme à dessein en massues, en patins à glace ou en ailes d’aéroplane. Il est le magicien de notre temps, et s’il s’est emparé du cinéma comme du reste, c’est pour s’en servir selon sa fantaisie de poète vagabond, humoriste et philosphe, selon son bon plaisir …

qui est le nôtre aussi bien.

He even uses his exclamation marks and purposely transforms them into clubs, ice skates or airplane wings. He is the magician of our time, and if he has seized the cinema as well as the rest, it is to use it according to his fancy as a wandering poet, humorist and philospher, according to his good pleasure …
… Which is ours as well.

Jean MITRY.  

Mickey Mouse-ing

Pam’s Pictorama Post: Back in February (if we can turn the clock back that far which I grant you is a bit tough as I sit here poised on the cusp of this particular June 1), I made a power birthday buy from my friend Jean-Pol Ventugol at The Antique Toy Shop (his website can be found here) and I threw this plate in for the heck of it. This morning I was wrestling with some items on my work table (which has many photos and toys piled up on it – a remarkable and delightful pile in fact) in order to install a desk lamp retrieved from our basement locker and it rose to the surface, clamoring for attention.

I have written about several comics related mugs made by this company, the Patriot China Company. I started with the rather wonderful Little Orphan Annie mug (as shown below, and that post can be found here) and at the same time I purchased this I acquired the Three Little Pigs mug (which I posted about here) also made by Patriot. Unlike the mugs though, this plate has seen some hard use and is in rough shape.

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Pams-Pictorama.com Collection

 

It is so worn that when I bought it I contemplated adding it to the cupboard and I may still eventually; it is so beat up, but I think it would still be very jolly to be eating off of it. I have in fact barely contained myself from making the Little Orphan Annie mug my daily coffee mug and have primarily been held back by the fact that it is somewhat child-sized, and frankly I drink a heck of a lot of coffee in the morning so I would be running back and forth constantly to the kitchen.

There is something deeply comforting and satisfying about this childish china though and the phenomenal popularity of it has made it all still so widely available that I have times when I consider making a big buy and converting our everyday dishes to these, with mixture of comic figures of days of yore.

This change of china would be notwithstanding the fact that I actually have kitchen plates I am emotionally attached to, which came from my great-grandparent’s bar. (I mentioned these in a post awhile back where I considered an all Felix life which can be found here.) Coincidentally those are sectioned as well and while I never thought about the appeal of neatly sectioned plates there is one. I have grown spoiled by our willow ware plates with their deep reservoirs which are handy in keeping our dumpling’s soy sauce safely from the sauce on our fish du jour.

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Willow plate, our daily china

 

The Mickey Mouse plate, like the mugs, is just a bit down-sized a bit for a child – the sort of three quarter size of what I would think of as a luncheon plate. (A good plate for a diet – it would convince you to take just a little less.) This one must have delighted a child or children for many meals, wearing Mickey and especially Pluto down and fading them considerably. Perhaps there was just the one and they fought over it as I remember doing over certain a certain spoon and other items as a kid. Maybe Kim and I could start fighting over who gets their dinner on this one.

While I somehow doubt that I will purchase an entire set, you might expect to see a few more choice items added. As I come across them I find them irresistible and even while researching this I believe I found a pig mug I must have, therefore we will consider this to be continued.

We Work Each Day: Clivette Cont.

Pam’s Pictorama Post: I stumbled on the tale of the huckster magician artist Clivette last week when researching my post of the dancing white kitty card of his creation. (It is called Always Cheerful and can be found here.) Meanwhile, I found this card while searching Google Images – and to my delight it was for sale on eBay. I scored it quickly and thought it would make a nice birthday gift for Kim if it came in time. To my delight it arrived on Wednesday evening, his birthday eve. So today it serves as the jumping off point for a part-two post, although I confide that I have already told everything I could find on Mr. Clivette and his fascinating life last week.

However, today’s card is an excellent foil to last week’s dancing duo – these two snoozing pusses look like they just want us to go away and leave them be! The poem that accompanies them is:

We work each day
With a cheerful heart
For we are always together
And never apart.

Their green kitty bows are somewhat at half-mast. They look annoyed that the viewing might potentially wake them – sleep is a serious thing for these cats. Unlike last week’s kitties, there is a vague sense that one is male and the other female. They are well settled into a long nap. The card was never mailed, but there is a somewhat unintelligible and garbled note, written in penciled script on the back. It is addressed to Mrs. Lillian Harter. From what I can puzzle through it says, I will write a letter in a few days/nan glad to get the recite (stet?) for E Bertha Ronsh (?) the catsup, thanks for the…cards.

This card seemed like an especially appropriate bunker birthday gift for my mate, with whom I have spent the past three months (and counting) existing in our 600 square feet of heaven and working hard. Happy Birthday Kim!

Nothing much about our version of life during the pandemic is especially noteworthy. Comics continue to be made by Kim at one long table. I have reclaimed a drawing table directly behind him and from there (and occasionally when my back needs a break, from the couch which I mentally think of as my conference room), I continue to raise money for Jazz at Lincoln Center. With the concert hall dark, no concerts, no tours and no Dizzy’s club, these contributed funds are more important than ever before, and so days have rapidly melted into nights, and then weeks, now months.

It has been a pleasant existence in many ways, I have to admit. I commute ten feet from bed to desk. I have taken the reins of the kitchen in hand and am cooking much more often, which means we will eventually emerge heavier, but hopefully healthy.

We continue to work out and I am backing to a routine of weight lifting, which my previous schedule had interrupted, so I will be fat but buff. And I tag along for the trip up our 16 flights of stairs a few days a week for a bit of cardio – whenever I go outside – but Kim keeps to his much more regular routine up them six out of seven days a week. There have been weird shortages of some food and items (for example ice cream, largely unavailable for awhile seems to have been somewhat restored, flour remains at a premium), but no real hardship. We have always liked being together and here we are. We are lucky.

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An early experiment with root vegetable stew – the dumplings got a bit aggressive!

 

I do not mean to imply that the horror of the situation escapes us. Like many, we exist on a steady diet of CNN and the news is horrendous. For many weeks the sound of ambulances on York and First avenues were constant and haunting, especially at night. Like everyone, we have lost friends to the virus, directly and indirectly and others have been sick with it.

We remain very grateful to the folks who risk themselves to continue to fill the shelves of our grocery stores and deliver our mail and make appreciative forays to the few restaurants to pick up food from those who have hung in with take-out business. A low point was when our favorite pizza haunt closed down for several weeks after a valiant effort to remain open, a symbolic low. Happily we hailed their recent return and celebrated with a mushroom pie. A trip every week or two to Bagel Bob’s around the corner cheers me greatly, and the Gristedes across York has done their best for us. It seems strange to contemplate a return to leaving the house daily and re-entering the world. Meanwhile, our Yorkville corner of Manhattan remains strangely under-populated, sort of like a never-ending holiday weekend.

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Arturo’s Pizza, this taken just pre-plague.

 

Kim and I had hoped to spend more time together this year, with the months earlier having been very travel intensive for me at work, and now we certainly have. I miss seeing my mom in NJ (I fear infecting her and remain unsure how we will resolve that), and of course there are things and people I miss in the outside world, but am mostly able to patiently look forward to seeing them in person when the opportunity arises again. For now we are here and doing our thing. Kim’s world has changed very little aside from my omnipresence and endless nattering on the phone Monday through Friday.

Winter clothes still hang in the closet, frozen in time to mid-March Miss Havisham-esque, despite the weather having turned very warm. (An army of moths has invaded which I am unsure how to oust. We can’t deal with mothballs so please send any less toxic suggestions. Blackie snacks on the occasional one but is of little real help.) I am clad in entirely in a rotation of work-out clothes, an ancient black cotton hoodie the only constant. Make-up is an alien concept (why on earth did I do that every day I wonder now) that I may never really go back to. Like everyone, my hair has grown shaggy and I twist it up in a hair tie. (Luckily I had accepted my gray hair as it came in when it arrived as I hit 30 years old, and so I am not among those growing out gray roots.)

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An unusual moment of togetherness, Blackie and Cookie on the bed, looking nothing like those contented white kitties.

 

The cats, Cookie and Blackie, are the big winners. An extra set of hands constantly at disposal and inclined for petting they take full advantage. Blackie has made numerous appearances on Zoom, but as he is all black and so are most of my allotment of t-shirts and tops, it is only those with sharp eyes who have caught a pair of pointy ears, a tail waving, or perhaps a serious green cat eye peering up. He demands attention, in particular, between 3:00-4:00 daily, but he likes those Zoom calls on-camera and will magically appear for them. He precedes his leap onto my lap with a little meow and stretch up to tap me with a claw paw, ever politely, before making the jump up. Instagram followers know that he is also partial to taking possession of my desk chair when I am not in it – which isn’t often these days.

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So, as we celebrate Kim’s Natal Day for 2020 I provide an idea of what daily life looks like here at Deitch Studio and Pictorama during what I have termed as our bunker days. I fervently hope you are all as comfortably situated in your own.

The Troubles of Felix

Pam’s Pictorama Post: This card seemed appropriate to our current contagion days. Postmarked 1924, the postcard may refer to bed bugs or the like as Mrs. Felix seems to be itching, or it could also be a cold as Felix looks a bit unwell. Felix does look miserable and somewhat guilty under her accusation either way. Theaters would be ripe for such transmission bugs bacterial, viral or the many legged kind, and of course it follows that Felix couldn’t resist going to the pictures. Very tongue in cheek that the very cartoon folks would be pointing this out, but of course they knew our sympathy is always with naughty Felix.

In the 1920’s, movie theaters were more working class establishments and had just started to give way to the movie palaces designed to look like legitimate theaters and attract middle and upper class patrons. (An article from Smithsonian Magazine I read this morning tells the tale of popcorn as a snack in theaters – disdained at first as too low class, it gained traction during the Depression when the inexpensive treat was attainable for audiences as well as additional high margin income for theaters.) 1924 is still on the early end of the decade however, and the allure of the picture shows was still battling with an image of it as barely better than frequenting a working class saloon or bar.

This card was produced by a British company called Bamforth which, although it sold these cards both in Britain and the United States, appears to have done so without license. And, unlike the color postcards of Felix in the same era, these are all entirely black and white and Felix has what I think of as his more dog-like off-model look.

Bamforth was a company originally born out of the production of magic lantern slides. In addition to short film ditties of the 1890’s until 1918, they had a line of postcard which focused on what were generally considered saucy topics of the day. The postcard portion of the company was eventually sold and still exists in some form today, having celebrated its 100th anniversary in 2010. Their postcards, such as Felix fighting with his wireless radio, were so much of their time and place that sometimes we are left puzzling to figure out what they might refer to today. For example, there is one where he curses the demand notice for rate. (This seems to refer to a dunning tax notice.)

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Bamforth card, not in Pictorama collection

 

Another series of postcards printed by Florence House printers in Great Britain, shows Felix in a series of equally moral questionable scenes. I show one of those pulled off the internet below. I love the cigar and the overnight grip in this one. He is a naughty boy indeed.

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Florence House card not in Pictorama collection

 

In these years that are still leading up to the discovery and widespread use of antibiotics, Felix tells us to be mindful about drafts (in one card we spy him in the bathtub through a partially open door and he scolds, Shut that Door! You’ll have me laid up – and what will the picture shows do then without poor Felix?), and reminds us of what you might bring home from the pictures at night. Today he would don a mask and figure out a way to court the white girl kitty, despite keeping a six foot social distance.

 

Find Felix in the Photo

Pam’s Pictorama Photo Post: It is always a very fine day at Pictorama when a Felix photo postcard wanders in the door. Of course one never knows when an opportunity to purchase one will occur, and never have I seen one for sale outside of eBay with the exception of the one (rather glorious) occasion when someone contacted me via this site to sell me a cache of them directly. (This rather interesting tale can be found here.) This is a photo postcard and it was never mailed, nothing is written on the back.

Arguably, I probably like the shots of larger Felix dolls and one or a couple of folks gathered around him. I have long had an affinity for people posing at carnivals or seaside with Felix. (I’m also partial to people posing with moon cut-outs – folks just brought a special energy to those photo moments in life – photos being a bit more rarified in the pre-phone camera days. An early post with a moon photo can be found here.)

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Pams-Pictorama.com collection

 

As I study today’s photo I have to wonder if it is an extended family gathering or one of another nature. Somehow all the women dressed in white have migrated to one side of the photo, the arches of an arcade coincidentally creating a greater visual division – somehow their white hats bob into the black spaces just right. As a group, the women are largely hat wearing, while of course their beach attire would qualify as cocktail wear in our more casual day. (And I refer to our day in general, not these bunker life days when we rarely get out of sweats and wear trousers with buttons it seems. A dress that requires ironing seems like something from another age indeed.)

Children clad in a variety of modes line up in front , a few brave swim togs, but most also tend toward dresses, hats and one little guy even has a tie. The bright prints of the girl’s dresses are a relief to all the white. The men are darkly suited up – a minimum of tie and vest. The gentleman wearing a suit in front is also sporting a very large rolling pin and of course the meaning of or reason for that is lost to us now. Two girls near him appear to have some sort of canes or croquet mallets or the like. A series of flag poles draw our eye up and back to some delightful looking buildings on a nearby bluff.

It is possible to miss Felix at first. He blends surprisingly well with the kids all around him, a bit short perhaps, but one of the gang. However, he poses dead center in the group so eventually he emerges into our consciousness. Once I saw him, it became a Felix photo and it has earned a place in the collection here at Pictorama.

Felix Beach photo

Felix Fashion Forward

Pam’s Pictorama Post: I’ve had this little gem (displayed above on Kim’s desk) for quite awhile and somehow haven’t managed to write about it. I purchased it on eBay, but am sad to say that they disappeared almost immediately as I think in a better world everyone would have a chance to buy one of these, or even a wardrobe of them.

Some rather enterprising Felix fan created this t-shirt cartoon with the earliest style Felix – very pointy and squared off and a bit dog like. It is the Felix design I have long favored, reminiscent of some of my odder stuffed toy versions from Great Britain. (A few posts about these can be found here and here, and the fascinating history of how many of these dolls were made by indigent women in London’s East End, can be found in the post here.)

This naughty Felix is drinking some booze from a double XX labeled bottle, and it is actually a great five-part strip as he goes through the motions of Seeing, Hearing, Smelling, Tasting and Feeling, all with real silent cartoon emotion. I prefer my Felix un-gelded if you will. I don’t mind him being a bit impish, but I prefer his bad boy side rather than the latter kiddy fare. (I feel the same about Mickey Mouse who goes from being a bit rowdy in the early cartoons to positively sticky later on.)

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My pre-quarantine life did not provide many opportunities for t-shirt wearing in reality. I generally found myself exclusively dressed for work, or if home clad in work-out regalia, and pj’s made up the only other avenue of regular sartorial category.

Frankly, like most people I gather, these days my version of the uniform of our universal lockdown has been work-out clothes, as I either starting or ending most days on a space just big enough for a yoga mat, a small pile of weights acquired during one of my post-surgical rehabs surrounding me. (I draw the line at working in my pajamas.) Depending on the temperature of the apartment that attire is usually augmented by a rather ancient and somewhat tatty, black zip up hoodie acquired years ago from the now defunct Modells. (Where will I purchase cheap, generic work-out clothes now I wonder?)

It may, or may not, surprise you to learn that I am partial to brightly patterned stretch tights paired with tank tops – can’t stand working out in anything with sleeves. I vary those tights with a few pairs of black Adidas pull on track pants. (I tend to think of those as dressing up a bit these days.)

I have pointed out to friends that since all I do other than work right now (that tends to occupy about 12 hours a day), is work-out and eat, I am likely to emerge from captivity at some unknown future date hefty, but buff. (We will of course also all be a bit shaggy and will have abandoned most unnecessary adornment – I think I have forgotten how to apply make-up already. I look at it in the bathroom and think – why? Meanwhile, we eat pretty darn well here at Deitch Studio – many of you may not know I was once a professional chef and working at home has me in the kitchen again.)

Zoom and other video calls occasionally demand that I make some sort of an appearance on camera and I try to be understanding about a desire to actually see other folks. I attempt to clean up a bit, but outside of Board meetings or actual online events (which send me puzzling through a closet which currently houses out of season winter clothes, as we started our hibernation in March remember), everyone pretty much gets me, view generally chest up, in a work out top and hoodie. (They frequently also catch a glimpse of Kim working in the background – it is only one room, after all. Meanwhile, his routine only altered by my ongoing presence and my endless work natter on the phone which are now the background to his formerly silent days.)

However, now that the weather is changing perhaps I will migrate to a somewhat enhanced and modified spring look as we begin to consider the ultimate end of our incarceration, which might include the occasional pair of trousers that button and pulling on a prize t-shirt like this one for all to ponder during the next staff meeting.