Has Anybody Seen My Cat

Pam’s Pictorama Post: I’ve seen this sheet music come and go and I finally grabbed it up. It occasionally turns up in my cat searches and I finally landed on this copy earlier this week. There’s another version with an equally good cover, but very different cover which I will still snatch up given the opportunity.

Pictured on the front between these two great black cats is, I assume, Emma Carus. Emma was a vaudeville performer who was the face and voice for putting this song over. According to the American Vaudeville Museum site (University of Arizona, here) although she was pleasing looking, she generally opened her act with the line, I’m not pretty but I’m good to my parents. However, her songs were incredibly popular and she sold reams of sheet music. She hit the big time as a performer in 1900 so when this sheet music (copyright 1922, but more about that in a moment) she was a well established star and money maker.

Emma gets the top credit, followed by Dan Blanco (of whom I find no real tracks) and then J. Walter Leopold. I am not sure I see real evidence of her actual song writing as I read her bio. J. Walter Leopold has numerous song credits, but was also a performer and he and Carus teamed up in 1918 and worked vaudeville until the end of that particular line. He drifts to radio and then manages some bands. She lived hard starting in her teems, has two failed marriages before she is 25, and dies in failing health at 48.

*Emma Carus in all her glory in an undated photo, on Ziegfieldfolliesgirls.com*

Sadly I cannot find a recording of her singing this song, nor can I find a recording of her singing at all.

While credit is given as above on the front of this sheet music, the internet reveals that the original song was song was British and was written and composed by TW Connor in 1899 for George Beauchamp – probably as a sequel to an earlier successful song Puss, Puss Puss (1897). A 1901 recording of the song can be found here with the slightly different name of Has Anybody Seen Our Cat, but virtually the same lyrics. There are recorded versions going back to 1897 under this name so I don’t know how to make that jibe with the claim of the 1899 authorship above – was it acquired and reacquired multiple times?

The copyright page tells us that Dan Blanco acquired the rights in 1916 and they were transferred to Emma Carus in 1922. So maybe Dan’s only claim to fame is acquiring these rights and selling them.

Children’s Book which claims to have roots in one of the versions of this song.

The song goes on to inspire a Tex Ritter tune, Has Anyone Seen My Kitty, (listen to it here) and eventually a recent children book, Anybody Seen Our Cat by Kenneth Griffin, illustrated by Brandon Weiner.

Below are the lyrics which bear their British roots and age, but produce a chuckle. Enjoy!

I'm upset now; let me tell you why,
Our old tom cat has been and done a guy (run away)
My old gal declares that it's a sign
Somebody's number's up and two to one it's mine
I've been wondering why I am to blame
For sneaking the bacon and the brawn
And the young man lodger's two-eyed steaks (bloater)
When they're missing on a Sunday morn.

Chorus: Has anybody seen our cat?
Has anybody seen our cat?
He's got a bit of black on the end of his tail
And the skin's all off where he's been fighting
Last Sunday morning we missed him from the mat
Puss! Puss! Puss! Meat! Meat! Meat!
Has anybody seen our cat?

How we loved that cat nobody knows
Put butter on his feet and pepper on his nose
When he caught cold gave myself a job
When the toothache troubled him so bad
And I found little Tommy couldn't eat
I tied up his face, put baccy in his ear
And got another cat to chew his meat.

Chorus:

I never thought he'd leave his happy home
Though after the gals he often used to roam
I've sent tripe hounds out upon his track
I'm doing everything to try and get him back
Got two cods heads stuck up on a pole
And nailed up a kipper on the door
And written underneath it ‘Welcome home'
And a promise not to kick him any more.

Chorus:

Cinderella and the Cat

Posted by Pam's Pictorama

Pam’s Pictorama Photo Post: I am wildly fond of this recent acquisition! I found it for sale on eBay from a Canadian seller and couldn’t buy it fast enough. It is a photo postcard, never mailed. In studying it, I believe the white bits at the bottom left are a bit of paint, not loss of emulsion. Nonetheless, this one zipping into a frame quickly to keep it safe.

It is an image I have never seen before and my efforts to turn up anything relating to it turned up nothing except animation and, oddly, a fair amount of assorted pornography. Cinderella is written at the bottom of this postcard image. There is a vague suggestion of a fireplace scrim on a painted scrim behind them. I assume this is a photo postcard from a vaudeville or roadshow version of the Cinderella story.

Cinderella here, although reasonably adult or at least adolescent, is fairly petit. She holds a strangely very small broom and her feet are clad in nicely strappy shoes which appear flat and potentially allowed for dancing. She is perched on a common bistro style chair which is a bit of an anachronism. This is a Cinderella still in impoverished mode with her lone friend which in this case is a cat. (Correct me if I am wrong, but the traditional story involved mice befriending her, didn’t it?)

*Nice Lucifer the Cat toy from the Disney animation. Might need to find myself one of these!*

In an effort to research if there was a variation of the Cinderella story that specifically had a feline friend I turned up an Italian animated film from 2017 called Cinderella and the Cat. It seems to be is a dystopian future version of the Cinderella story set on a ship in Naples. Although I don’t remember it, the Disney version (1950) had a cat too, Lucifer, shown as a toy above.

However, let’s not bury the lead, which is this glorious cat costume! He is not only adorned with a shaggy, striped fur suit, but also has amazing full make up and/or bewhiskered mask. The shagginess makes me think maybe mohair. The one hand that is visible is covered in a paw sort of glove; he has round ears and a lank tail curled beside him. The make up or mask on his face gives him wonderful bulging kitty jowls like a big old tom cat and really add to the overall effect.

As shown above, the back of the card only reads, Eina [?] and the Cat in a swooping script. Noted in the upper corner is 15. Cinderella which could be a contemporary note or an original one, making me wonder if it was a series of cards.

This cat costume rivals that of performer Alfred Latell (who I have written about in posts here and here), a gifted animal impersonator who might best be remember for his Bonzo dog complete with moving parts, in a similar time and genre. (He is shown in the Bonzo costume below.)

Latell was identifiable and left some if uncertain tracks. Ultimately I was able to follow him all the way to a snippet appearance in a blurry bit of color film. Sadly this performer is unidentified and I was unable to turn up any snippets referring to such an act. I suspect this is a lower rent version than the Latell shows (and potentially Canadian), but the costume and make up are just amazing.

My imagination roils with thoughts of this bygone production and a potentially thrilling rendition of a cat pal to this Cinderella. Sad not to have more information, but I do have this image left to ignite and stoke dreams of cat acts of years past.

The Greatest Comic Song Yet

Posted by Pam's Pictorama

Pam’s Pictorama Post: Pictorama readers know I haven’t posted new cat sheet music in quite awhile, but this one caught my eye and I thought it should join the Pictorama collection. Perhaps I will bring it to the office as a return to Columbus Circle offering later this year. (I have written about the sheet music which adorns my tiny office. Those posts can be found here, here and here.)

Despite being The Greatest Comic Song Yet I will admit up front that I was unable to find any sign of a recording of this tune, The Cat’s Dead. A few of his more popular tunes such as And Her Golden Hair was Hanging Down Her Back and Comrades have left some creaky musical tracks. (Period recordings of these can be found on the DAHR, Discography of American Historical Recordings site here if you are curious. However, a better rendition if you actually want to hear the lyrics is the Youtube recording from a performance at the Metropolitan Museum in 2016, performed in the American Wing. It can be found here.)

*Pams-Pictorama.com collection.* *Featured in a 2017 sheet music post.*

According to Wikipedia, Felix McGlennon was born in Glasgow in 1856, the son of an Irish shoemaker. McGlennon, who specialized in comic dance hall and vaudeville songs, settled in Manchester, England where he published his first penny songbooks. He later emigrated to the United States in the mid-1880’s and this song and his others of note seem to be published in the United States in the 1890’s. He took his success and return to England and set up his own music and postcard publishing company there in 1909. He lived until age 87, dying in 1943.

My favorite part of the brief Wikipedia entry claims that he had no musical training and picked his tunes out on a toy piano. I share two quotes from the site below which I gather more or less summed up his philosophy on his music:

Assume, if you like, that what I write is rubbish. My reply is “It is exactly the sort of rubbish I am encouraged by the public to write”… All my life I have tried to produce an article for which there is a public demand. If I visit a music hall, it is with the single object of instructing myself as to the class of thing that is pleasing the public. Then, I try to write it – and write nothing else.

On another occasion, he said: “I would sacrifice everything – rhyme, reason, sense and sentiment – to catchiness. There is, let me tell you, a very great art in making rubbish acceptable.

The Cat’s Dead is considered an American song, published in 1893 by the Anglo American Musical Agency, but it has an English copyright. It would appear that the song and music is by Mr. McGlennon.

Sadly there is no artist credit for the great cat art on the cover which is of course why I purchased it. There is a tiny company credit which reads, NAT PH. ENG Co NY in the lower right corner so presumably it came from an engraving company library of sorts.

The music cost a rather dear forty cents. Google tells me that is about $15 in today’s money.

Our feline fellow has something of the old Confederate soldier about him – something about his vest. He has lost an eye and uses these odd crutches (I like that you can see his claws on his paws), but of course there’s something about him that makes you think he could still do a jig if he had enough liquor in him. I love his face with that sharp toothy grin, whiskers aplenty and the one smiling eye.

The lyrics are sort of awful and I will spare you those – all about the various ways they went about killing the cat who always repeatedly came back – until the end of the song. Although, as we see from the cover, Don’t you believe it!!

Nana

Posted by Pam's Pictorama

Pam Photo Post: If I hadn’t already been a fan of silent film, the 1924 version of Peter Pan would have sold me. I remember that the first time I watched it, a beautifully restored and version toned in sepia and blues, thinking it just doesn’t get better than this – the perfect incarnation of a film of its kind. The entire movie is beautiful and magical, but for me it is all about George Ali in a giant part-puppet and dog costume playing Nana in the first part of the film. (He also returns as a scary yet somehow jolly Tick-Tock the crocodile later in the film.)

This snatched off an online ad for the DVD of the film. A shot of Ali later in the film as Tick-Tock.

I cannot express how much I wish I had had George Ali-sized Nana as a nursemaid in childhood. I do believe I felt a bit that way about our huge German Shepard and childhood partner in crime, Duchess, who I have written about before. Barrie, the author of Peter Pan, must have had a huge and protective dog as a kid too. I find the father’s treatment of the beloved Nana unforgivable in the beginning of the film (the oaf), but of course necessary so that the ever-vigilant Nana is not able to prevent the action which sets the story in motion.

My post on Alfred Latell in 2015 remains one of the most popular.

Pictorama readers already know that I have a serious affection for animal impersonators. I have devoted past posts to Alfred Latell (those can be found here and here) and those are among the most popular posts on my site. I also count an early volume on constructing homemade version of such costumes among my prize possessions. (That post about the book How to Put on a Circus can be found here.) Ali was born in 1866 so he and Latell would have been working the same side of the street at the same time starting in the early 1900’s in vaudeville and stage acting, and then early film. Ali gets the breaks and today is the better remembered of the two, primarily because of this role in Peter Pan, although he was much in demand for his roles on the stage as well.

Ali as Nana is shown to great advantage in this tatty still I dug out of the fascinating box I keep on my desk – largely of photographs, only lightly explored, that were sent to us by Kim’s friend Tom Conroy and which continues to turn up the occasional gem. (I wrote about another of these recently in the post Art School which can be found here. If we dig a bit deeper, back in 2015, I also wrote about a more Felix-y one here.)

Shown in this photo with Philippe De Lacy, we get a nice close up of Nana’s costume, somehow wielding a sponge, fluffy fur, the smiling mouth and most importantly we get to see the eyes and brow, all which were controlled by strings allowing George to create the expressions and move the ears and tail. His (her?) collar is nicely visible. The tile on the walls is painted on and the towels are a sort of charming mismatch of strips, checks and floral.

Ali is said to have started his career as a gymnast and scored the role of an out-sized Tige in a traveling show devoted to Buster Brown in the 1900’s. He stole that show with rave reviews throughout the United States and Britain. I share an excerpt below on the subject from fellow blogger Mary Mallory (her post devoted to Ali is here.)

The January 21, 1907 edition of “The Rock Island Argus” called him tops in the line of animal pantomime, stating many recognized him as “the foremost four-footed actor” for the past several years. Ali toured both America and England for several years playing Tige in various iterations of the show. In fact, during one production in Pennsylvania, Ali visited a local city hall and bought a dog license making “Tige” legal in town.

The image for sale at George Glazer Gallery, NY

According to her Ali went on to play Dick Whittington’s Cat, a dog in Aladdin and several other roles, traveling across England, Scotland and then throughout Europe. He was 58 by the time he is back in the United States and takes the film role of Nana. Like Latell, Ali either made his costumes or, like this one, they were made to his specifications.

Sadly, the 1924 film of Peter Pan appears to be George Ali’s only film credit, although Mary Mallory sites a reference to an earlier 1921 film appearance in Little Red Riding Hood, where of course he plays the wolf, I assume it is not known to be extant and I cannot find any other reference to it. You never know with films, let’s hope this one materializes one of these days.

From the lost 1921 film of Little Red Riding Hood. This photo is from the book, Fort Lee: Birthplace of the Movies.

Meanwhile, it bears mentioning that the original book of Peter Pan is definitely worth a read. The Disney version had never much appealed to me, but after seeing the 1924 film I found the original book and read it. Although the character of Peter Pan evidently appeared briefly in an early adult novel of J. M. Barrie’s (and Peter was to some degree based on a brother who died in childhood; their mother, comforted by the idea that he would remain a boy forever), Barrie developed it first for a stage play, where it was very popular. He wrote the book after. The popularity of the story in all its incarnations overshadowed and eclipsed all of Barrie’s success before and afterward.

I picked up an early copy inexpensively years ago and enjoyed it immensely. I would imagine it is available on Project Gutenberg or other online sites for free or also inexpensively; however I enjoyed holding that slim early incarnation in my hands. I highly recommend readers search out both the easily available film and novel. Treat yourself to them today.

Always Cheerful

Posted by Pam's Pictorama

Pam’s Pictorama Post: There are some things that speak for themselves and maybe this card is one of them. These slightly maniacal white cats, I can almost hear them chanting:

We are always cheerful
Our thoughts are high
We never disdain
To Make a Sigh

And it seemed to be a positive message to deliver to myself during these ongoing bunker life days.

The card was never mailed and it is embossed, which would have made writing on the reverse side difficult, however it does also give a subtle dimensional quality to this image. I love their little pink toes and grasped paws! Their huge red bows and fat cat tummies! This is one in a series of postcards – at least six. I liked this one best among those available, but I cannot promise you won’t see another in the future because I can easily imagine becoming somewhat addicted to them and their maxims.

Below the verse, just Clivette is written. A quick look up online and I discovered that Clivette, was the preferred moniker of Merton Clive Cook (1868-1931), artist and vaudeville performer. According to Wikipedia he was an American painter, magician, writer, vaudevillian and entertainer who spent most of his early life traveling the world entertaining before settling in New York to paint permanently. A poster from his vaudeville act is shown below where in all modesty he declares himself, The Leading Magician of the World!

I wish I could say I was able to find substantial information on his act. He started as an acrobat in a traveling circus. His greatest skill seemed to be for reinvention and promotion of himself. He was listed on a bill in New York with Houdini in June of 1900. He subsequently passes through a period of palmistry and occultism, and by 1910 even hypnotism.

Clivette leaves vaudeville behind and embraces painting after instruction at The Art Student’s League. By 1918 he was established as a painter, first in the vein of the Ashcan school and then embracing American Expressionism and early abstraction, to some acclaim. (Granted, he did a lot of the acclaiming!) His work appears to be in a sprinkling of collections including that of the Harvard Art Museum. It is also worth noting that some of the landscapes and late work are available via online auctions today for very affordable amounts.

Photographs of Clivette’s Greenwich Village studio, inside and out, are available online. I share two from the collection of the Museum of the City of New York below. One popular image of him standing in front of his Sheridan Square studio and the other of the interior, a dark and object filled space which he called The Soul Light Shrine and charged 25 cents a pop per visit. (For a rollicking and detailed history of Clivette and his family, have a look at The Lost Clivette “Bazaar de Junk” – 1 Sheridan Square a 2018 post by a blogger identified as Daytonian in Manhattan.)

Collection of the Museum of the City of New York

Collection of the City of the Museum of New York

Of course, I like the zany, dancing kitties more than his oozy, later landscapes and would have preferred he devote himself to them, like an American Louis Wain – many more images of them with something slightly malevolent about their knowing selves.

Clown-Boby

Posted by Pam's Pictorama

Pam’s Pictorama Photo Post: This little find caught my eye recently and I decided I really needed to own it. These early vaudeville-type animal acts seem to be a fascinating sub-genre and I can’t resist them. Quite awhile back I found and wrote about another French card I believe is from the same period with small dogs and a cat piled on a larger dog (shown below – it translates as Dog Scholars and the post about the card can be found here), and earlier than that another somewhat primitive but favorite card for an animal act called Mad Betty (find it here) which was in the United States, on the west coast. Finally even a bit more frowzy, Dashington’s (here), also American. Alfred Latell and my posts about him (here and here) and his vaudeville act must be counted as well.

The Clown-Boby card was never sent, nothing inscribed on the back, and therefore my thoughts on dating it are approximate, however Chien Savants is postmarked 1905 and I think it is fair to assume that this is from the same general period. Clown-Boby’s card declares that he is a Membre de la Société protectrice des animaux and we are glad he wanted to acknowledge that he took good care of his animals. Despite his very scary white clown face, he does have a sort of kindly look – although I must say if I was going to be afraid of clowns Boby is where I might start. The quality of the postcard printing is a bit low and primitive – cut poorly along the bottom with a white strip and overall a low resolution job.

The cats shown are a varied group mixing spots, stripes and between, although each wears a bow – with one in a sort of royal ruff and I wonder if he was the lead kitty. As cats will, some look engaged and others annoyed. Lead cat is slightly blurred because of course getting them still is another matter entirely. And I like the variety – ending with a smart looking tabby. I do wonder what the act was like, my imagination probably beyond the capacity of Clown-Boby.

Sadly I could find no history of or reference to Clown-Boby and his act online. I did however, find the image below showing him with a rooster act declaring Clown Boby and Miss Mosa Original Dressuract. (Can anyone out there translate dressuract to English?) He appears a bit younger here with Miss Mosa if you ask me, and it is in reality a bit whackier and charming photo altogether. (I will admit that Google Images did not want to share this photo and I apologize for the digital thievery.)

I cannot help but wonder if and how the kitties shown in my card got along with Miss Mosa and company – or perhaps more likely that they were a sufficiently subsequent generation of the evolving act.

Not in Pams-Pictorama.com collection

Alfred Latell: Animal Imitator, Continued

Posted by Pam's Pictorama

Pam’s Pictorama Photo Post: So last week’s Deitchian pre-Valentine’s Day post (From My Sweetie which can be found here) touched on Alfred Latell, and today I make good on the promise to add to an earlier Latell post of mine (here), to be featured this week. My interest in Alfred Latell, born of the card I purchased shown below, helped to inspire Kim’s animal impersonator-themed Valentine this year, egged on by the fact that I had just recently acquired this publicity photo of Latell – the best and virtually only one I have seen of him not in costume. So today I endeavor to dig a little deeper into the Alfred Latell story, hoping not repeating myself while offering a fairly fulsome tale for those of you just tuning in.

Pams-Pictorama.com collection

Alfred Latell was a vaudeville performer with an animal act which evidence shows took off in about 1902 and ran into the early 1940’s – arguably the 1950’s in Australia it seems. Latell went to great lengths to rig up elaborate animal costumes, with moving parts such as a tail, ears or even a ridge of fur on his back. My favorite fact is that he would sit outside at night in his cat suit, watching felines in the backyard, learning how to ape their ways. This is how I see him in my mind when I consider him, outside at night in his cat suit, watching and hearing a kitty chorus on a back fence somewhere, making mental notes about them.

Dogs were a challenge he relished; he felt they were the closest to humans and his Bonzo dog appears to be the one he was best known for later in life. Latell didn’t speak in his act, perhaps the costumes precluded it, although evidently he did bird imitations when clad in an early bird suit. He always had a partner who would do the talking, and that partner was first wife one and then, Sylvan Dell, wife number two. He and Ms. Dell are shown together below in photos I found via Google and on the site referenced below.

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Pausing for a moment, I reflect on Bonzo Dog and his copyright. As I think most of you probably know, Bonzo is a British comics invention by George Studdy in 1922. Born at a similar time as the likes of Felix the Cat, Bonzo comics set off a merchandise boom, first in Britain and then, much like Felix, making its way around the world. I happily own several Bonzo toys (yep, and some of those can be found featured in posts here and here), but clearly the copyright wasn’t being guarded so carefully that Alfred Latell couldn’t cheerfully make a name for himself with this act and bearing the Bonzo Dog name.

This photo bears an interesting newspaper article, glued to the back of the photo which talks about his act. It mentions Sylvan Dell and also the other acts on the bill including Pablo South America’s most famous magician and The Three Chocolateers, one of the fastest colored dance teams ever seen in Seattle. Something referred to as human pretzels rounded out the fare. As you can see from the back of the photo, shown below, this comes to us almost exactly 85 years ago to the day, February 27, 1934.

Fellow blogger Travelanche has a post about Latell (which can be found at Alfred Latell Animal Impresssionist) which contains more biographical information and the Travelanche author corresponded with Latell’s family. (The family also contacted me after my prior post, asking if I had information beyond what I had posted.) My favorite image on that post is of an 8×10 publicity photo of Latell as Bonzo, autographed to Duke Ellington, with the inscription, To Duke Ellington, The master of Rythm may you never lead a Dog’s life, Latell 1931. The photo above with Sylvan Dell is signed by both Dell and Latell and also inscribed to Duke Ellington, To Duke Ellington, Wishing you much happiness and continued success Sincerely Sylvan Dell with Al Latell, also dated 1931.

Sadly, ultimately Alfred Latell appears to have died a pauper and was buried in an unmarked grave. The above referenced post says his widow was so distraught…she threw out anything that reminded her of her husband, including his famous dog suit. So much for my secret hope and dream of finding the dog suit some day.

I see that my original post is frequently read, evidence that people are searching the internet for information on him. As far as I can tell, Alfred Latell’s available credits are all for stage work; sadly I can find no evidence of him on film, although his career certainly covers a period when he could have been recorded. Hopefully a movie or other film appearance will turn up eventually so we can see him in action. (Of course, I will add that I am also very anxious to find an image of Latell in his cat suit as well.) For now, I add another, albeit thin, page to the story and lore of Alfred Latell, the great animal impersonator.

From My Sweetie

Posted by Pam's Pictorama

Pam’s Pictorama Post: For those of you who are familiar with Deitch Studio and Pictorama tradition, today is the long anticipated day when the nexus of Valentine’s Day’s meets my birthday (tomorrow) and the Kim Deitch Pam-specific annual creation is unveiled. Yay! Recent readers may remember that I foreshadowed animal imitators with my post, Ratters and Mousers (which can be viewed here) and this year’s spectacular missive from Kim addresses my affection for folks dressed up in animal costumes.

This interest in animal costumed performers pre-dates my meeting Kim and the beginning of our story. My own drawings and paintings favored this as a theme for a number of years. I collected animal masks (cheap plastic ones) to this end for awhile, and I like to think it was this fascination which provided a germ of the idea for the cat costume storyline featured in Kim’s book Alias the Cat. (What kind of wife would I be if I didn’t provide a link to purchasing it here?) I have had a deep (to date) unfilled desire to find a definitive antique cat costume and searched eBay for years to no avail. When I purchased my first photo of kids posing with Felix, I did wonder if it was perhaps a small person in a costume, until I was able to study it closely enough to know for sure it is a stuffed toy. (Quick photo off the wall below, low quality but it tells the story.) If I am being honest they do frighten me a bit, people in animal costumes, but it that good scared way that just makes you think hard.

Pams-Pictorama.com collection

Luckily film arrived on the scene in time to capture things like the 1907 Dancing Pig – which I adore and Kim has included in his drawing. (For those of you who have never seen it, a version resides on Youtube, here.) I am overjoyed when I can find such snippets, however like so much popular entertainment of the past, much is lost beyond remnants and I am afraid this is true of Alfred Latell and his Bonzo Dog performance. I wrote about Latell (yes! you can read it here) after discovering a photo of him. I was subsequently contacted by some of his family seeking to find out information about him. (Keep a weather eye out for a further future post about him which helped inspire the Valentine theme.)

I think this Valentine also somewhat inspired by my morning habit of reviewing my Twitter feed which is, by design, almost exclusively cat videos, photos and a silent film and early music feed. Occasionally there is a GIF, video or photo so great I demand that he stop working and come see it. (Kim is very patient about this considering this is already part of his workday.) While a bit of bad news and world decay occasionally creeps in, this Pam practice is devised to be a largely happy, pure entertainment way to start the day. (There is a dose of the New York Times online each morning too – so as not to get too far removed from the realities of every day – heavy sigh.)

Meanwhile, who could ask for more than a husband and partner who seeks to recreate that which is lost to the sands of time (or perhaps never was, but should have been) for my personal entertainment? That rascal Waldo even makes an appearance. Thank you Kim! It’s wonderful. Here’s to many future Valentine’s to come!

Sunnyside Follies

Posted by Pam's Pictorama

Pam’s Pictorama Photo Post: I may never find out what the Sunnyside Follies of Barrington, New Hampshire was, but I am pleased to have this remnant. Even I have a little trouble imagining what this act might have consisted of – I would love to have seen it though! Four women with stuffed, beribboned toy cats and wearing cute little outfits which appear to sport scottie dogs upon close inspection, seems promising to me. (I admit to possibly being something of a minority audience however.)

This card was never mailed and there is nothing written on it so there is no indication of when this was made. From hair and outfits I am pegging it in the 1930’s. Barrington, New Hampshire appears to be a summer resort town – I am imagining it as the New Hampshire version of Catskill, New York in the same time period. Family camps on lakes – perhaps a WASP version of the upstate New York scene?

I am finishing up a week’s vacation between jobs as I write this – at home in Manhattan, what we might call a stay-cation these days. I have never been much of one for vacation travel, and Kim is even less likely than me to want to travel from home base when we take time off. For me this lack of vacation wayfaring may go back to my childhood. As I have mentioned, I grew up in a shore town in New Jersey within walking distance of the ocean. My father, employed his entire career by ABC News as a cameraman, traveled all over the country and the world for work. When he took his vacation (usually a month in the summer) he was also anxious to enjoy being home so we stayed put. Not a hardship, but I never got into the habit of going some place else to relax. My sister Loren did not have this limitation and was likely to take vacations to ski and even took a cruise or two. She was extremely fond of Italy, and traveled there frequently in the last several years of her life. I am sorry that she and I never figured out a trip there together although we talked about it.

My non-work travel has been to exotic places like Tibet, and I was lucky enough to do a fair amount of interesting domestic and international travel for the Museum as well – getting me to South America and Europe. However, I have never been one to travel to a resort (spa, beach or rent a house) for recreation. Perhaps being a pair of non-drivers has added to this travel inertia. For fun and relaxation we stay right here, denizens of Deitch Studio with each other and the kits. It is our slice of heaven and indeed good enough for us.

Cat Boxing, Round 2

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Pam’s Pictorama Photo Post: I usually hold the line against these posed cat photos, but once in awhile I am sold. Previously I have caved on Flying Dutch Kitties and Breaking News and this is the latest entry. This card was never sent and there is nothing written on the back.

I am somewhat curious about the man in the double breasted suit behind these battling kits. Odd attire for a referee I would think. It’s hard to see at first, but the white cat has a very striped tail. That must be an interesting looking kitty. A close look also shows us that these kitties are wearing harnesses which look rather hateful really. Everyone has their piss-cat ears on.

The cat boxing concept has long been put forth in various forms. (I have covered some of this territory before in my prior post Cat Boxing so I apologize for any repetition.) I am convinced that it all grows out of the natural tendency of cats to, well, box. Anyone whose lived with a couple of cats has seen this show eventually. Cats will stand on their hind legs and, often in a sort of slow action (I call it slow mo’ boxing when Cookie and Blackie go at it) engage in a kitty version of fisticuffs. It entertains the heck out of me when they do it, although by its very nature it usually descends into a proper fight, and everyone has to be separated and sent to time out in their neutral corner. The very best recording of this is the Youtube sensation, Cats Playing Patty-cake which never seems to fail to elicit peals of laughter from me. (As good as drugs really for a day when I am especially down.)

Back to the beginning of cinema, among the earliest surviving images from the dawn of film, is a famous half minute film of two kits going at it, Boxing cats (Prof. Welton’s 1894). It isn’t hard to see that Professor Welton is manipulating the cats in question – much as I assume our be-suited friend is in this photo. Kim says he remembers as a kid being entertained by a similar act on Ed Sullivan and his dad, Gene, telling him that it was all faked – and about the early kinetoscope version.

I can’t remember the first time I saw the film, nor the first time I saw my own cats do this dance. I can say that, more than any cats I have ever known, Cookie and Blackie seem more comfortable standing on their hind legs in general and they will routinely square off at each other this way. (I, of course, have assumed that this is an evolutionary step forward for cats, but perhaps that is another post. It is the way my anthropomorphizing mind works.) Given all of this, I am pretty sure that somewhere, somehow – perhaps in the remote areas of Russia where performing animal acts still thrive – there is a cat boxing act still on the road. The distant descendants of Professor Welton and generations of Vaudeville performers. And, if not, we certainly have Youtube!