All posts by Matthew Callan

The Rise and Fall of The Salty Dog

When I was a kid, me and my brothers would spend one week every summer at my cousin’s house in Staten Island. While Shaolin might not be what you think of when you think “vacation destination,” it was more centrally located to other summer attractions we’d go visit together. Occasionally, this included a trip to a museum in The City or a Mets game, but usually it meant cramming as many visits to theme parks in New Jersey and Pennsylvania into a week as humanly possible.

Six Flags: Great Adventure was, of course, high on our list of prime destinations, as it was for many a tri-state-area tyouth. We would try to get there super early to outrun some of the big crowds, and stay late to outlast them. If you stuck around long enough, you could ride The Great American Scream Machine or the Ultra Twister many times consecutively with virtually no line. At one point in my feckless youth, Great Adventure stayed open until midnight on certain days, and we squeezed our money’s worth out of our tickets by staying as late as we could. I think I rode the Bobsled Roller Coaster six times in a row, and only suffered a mild concussion.

When you stay this late, though, you need to take a break at some point. Or your parents do, anyway. This usually involved plopping down in one of Great Adventure’s many “stage” areas and enduring some god awful show involving a showtunes medley or unicycling or something else profoundly uninteresting to a kid of distinction.

In retrospect, I pity and admire most of the brave souls who performed to unappreciative audiences under a hot New Jersey sun just because it gave them a sliver of some kind of spotlight. But at the time, me, my brothers, and cousin would yell horrible things at these poor slobs, in between shushings and back-of-the-hands from our mothers. We didn’t yell out anything obscene; it was all just typical kid meanness, the kind we would organically happen whenever we got together. (See/hear the “mice on ice” tale captured at the end of this post for an example of our collective horribleness.). I feel retroactively guilty for being such a jerk to the vast majority of these people. However, one summer day we encountered a performer who was fully deserving of our scorn.

This happened when we were all still pretty young (I was the oldest of the bunch, and I couldn’t have been older than nine or ten). The whole group of us settled post-lunch in a shaded bank of seats to view a spectacle called The Salty Dog. It was a puppet show starring the titular character, a dog in a captain’s outfit. One would presume that this was intended for children, but one would be wrong.

The Salty Dog had spent a lot of time at sea, evidently, and the sailor’s life had made him grizzled and jaded, with a seaman’s vocabulary. His voice was gruff and tar lined, like a doughier Tom Waits, and his show consisted of him busting on people for as long as they could stand it. He was an embryonic version of Triumph the Insult Comic Dog, only not remotely funny. According to the link from Great Adventure History.com cited above, “Occasionally the jokes made at the expense of the audience resulted in somewhat disgruntled guests who would lay in wait outside the door to the theater looking to confront the performer. In cases like this, a security escort was sometimes required to insure the peace.” Who was this show meant to entertain? I haven’t the slightest idea.

When we saw The Salty Dog, the jokes were made entirely at the expense of young ladies, who he invited to come up toward the “stage” (really just a platform for the puppet to rest on), only to mock them, usually in a lewd fashion. I remember him saying to one girl in a tight outfit, “Nice dress, how long did it take you to paint it on?” I had to ask my mom exactly what this meant, and she reluctantly explained.

Even to a little kid, this seemed gross and wrong. It was leering and insulting, and directed exclusively at girls who were brave/dumb enough to join him on stage. I felt profoundly uncomfortable, and could feel discomfort from everyone else around me. I could almost hear the entire audience think, Should we say something? And yet, no one spoke up for a painfully long period of time.

After a few interminable minutes of heaping abuse on one group of unfortunate females, The Salty Dog pointed to the crowd and asked another girl to come on stage. Knowing what awaited her, she refused. He asked again. She refused again. Rebuffed, he all but commanded her to get up there with him, yelling at her with this bleating, grating C’MONNNNNNNNNNN! I felt the entire audience cringe en masse, and yet still no one dared to say a word.

No one, that is, until my cousin, all of eight years old (if that), stood up and yelled SHE DON’T GOTTA! The crowd erupted into spontaneous applause, as if his outburst made them all at once realize Hey, that kid’s right, she doesn’t haven to be abused by a puppet! None of us do! A few of them even stood up to cheer his rebuttal. Whatever weird spell The Salty Dog had over this crowd was now broken.

Needless to say, The Salty Dog was furious. WHO SAID THAT?! he screamed. WHO SAID THAT?! My cousin immediately engaged in the typical kid response to adult confrontation, which is to say he ran the hell away. Me and my brothers ran after him, because the Flight Response is contagious among kids, and because we felt like somehow we’d be blamed as willing accomplices to the rebellion.

As we took off, The Salty Dog barked GET BACK HERE!, and we ran even faster. We kept running and running and running until we reached the far side of the Yum Yum Palace. (A huge, almost psychedelic ice cream parlor with towering minarets of fake custard. If you’ve been to Great Adventure, you probably know what I’m talking about. If not, it looks like this.) Why did we flee in terror? Because we thought a puppet was going to beat us up? Yes, we did.

This was the talk not just of the rest of our day, but the rest of our vacation. The rest of our year, even. We reveled in how we’d taken down this evil enemy with a simple but stern declaration. (Somehow my cousin’s singular outburst transformed into something “we” did.) Like we had used our power to be huge jerks for good, and spared this poor girl the humiliation of being made fun of by a puppet dog. We elevated our accomplishment to the point of thinking ourselves super heroes, defenders of the defenseless.

We also vowed that when we made our next trip to Great Adventure, we would give The Salty Dog the business real good. No fleeing in terror this time. We would not let up until The Salty Dog was crying salty tears.

We did not return to Great Adventure for another year, but this was very much on our mind during our next vacation. We almost didn’t care about trying out any new rides, so long as we could give The Salty Dog a piece of our minds. We actually worked out things we’d scream at this jerk once given the chance, riffing on this topic all the way down the Garden State Parkway. He was gonna wish he was never stitched together!

So imagine our deep disappointment when we got to The Salty Dog’s little pavilion and found out that he’d been rebranded. He was no longer a PG-13 rated attraction, but more of a dopey sea captain in the vein of Goofy, with a voice to match (hyuk, hyuk!). I’m not exaggerating when I say it was one of the most deflating moments of my childhood. We quietly discussed yelling stuff at him anyway, but it seemed inappropriate and pointless, like screaming at a marshmallow.

No matter. We would always have that one moment when we stood up to puppet tyranny, then valiantly ran away like terrified maniacs.

A Life in Felt

This weekend, I went to the Museum of the Moving Image in Astoria for the first time. I’ve lived in the New York area my whole life, in the city itself for 16 years, and in Queens for 5, and yet never been there before. Shame on me, for it is awesome. Where else could you see some of the oldest movie cameras ever built and an actual Yoda from The Empire Strikes Back, and make a video flipbook of yourself doing the herky-jerky dance from Mr. Show? (After doing this, I neglected to purchase it, so double-shame on me.)

The main reason I went there is for a new exhibit about Jim Henson that runs through January 2012. And if you live anywhere near NYC and don’t go see it between now and then, shame on you, for it too is awesome. (If you want a sneak peek, peep this preview from Gothamist.)

The greatest thing about the show is how it has artifacts from Henson’s career/creative output going all the way back to the 1950s. You can see just how early his odd, unique vision took shape, in everything from little doodles to the first puppets he made. You also see how much work he did for commercials and industrial films in the 1960s. These ads look positively deranged now, so I can’t imagine what they looked like to an audience that was still grappling with the idea of the Beatles.

While he was making these ads to pay the bills, he was desperately trying to find a more creative outlet for his vision. The exhibit is filled with prototypes and proposals for different shows (of the TV and live variety) that never came to fruition. (One of them inexplicably involves Johnny Carson, I’m almost positive without Johnny’s knowledge.) Even knowing that he would become enormously successful in the future, these stabs in the dark are almost heartbreaking to view.

The thing that stood out for me while viewing the exhibit was how Jim Henson managed something almost impossible: life-affirming anarchy. A “no rules” attitude is usually associated with nihilism, and yet Henson managed to convey a positive outlook on life while also creating universes in which things constantly blew up and gotten eaten.

He strikes me as a more mischievous version of Charles Schulz, another person who made positive art with a dark undercurrent. And also like Schulz, Henson managed to license his creations for every product imaginable yet never really “sell out”. They were both so resolutely anti-cynical that it was nearly impossible for their creations to be corrupted, even when rendered in other forms. Although from what I know about Schulz, he seems to have been a much darker, more damaged individual than Henson, who was a workaholic but appeared to have his head and life together. (If you know about Henson’s life than I do, feel free to not correct me.)

The Muppets were a stealth influence on me, one that I didn’t quite get or remember until I was older. When I was a kid, there were two items I asked my grampa to tape for me and watched at his house constantly, almost as much as Charlie Brown specials. One was a Channel 5 airing of The Muppet Movie, which holds up pretty well I think. (The Steve Martin cameo in particular is fantastic.)

The other was a Muppets 30th anniversary special that aired in 1986. Aside from containing some rare, weird clips from the Muppets’ early days (like a DC-area kids show called Sam and Friends and appearances by Rowlf on a Jimmy Dean variety show), the special itself has some amazingly elaborate set pieces. Like an entire ballroom filled with basically every Muppet ever, all of them interacting with each other. There’s also some truly touching moments in it. I’ve watched it and been moved to tears more than once (and only been drunk a few of those times).

This is the first part of that special; not digitized by me, as my copy has been watched so many times the VHS tape is practically transparent. The other parts are easily found on the YouTubes and more than worth your time. As is the MOMI exhibit. Go yesterday.

Studio 60 on Roosevelt Avenue: Episode 8

STUDIO 60 ON ROOSEVELT AVENUE
EPISODE 8
WRITTEN COMPLETELY BY AARON SORKIN TOTALLY ALONE AND UNDER GREAT DURESS
RELIVE THE EXCITING INAUGURAL SEASON!
PILOT | EPISODE 2 | EPISODE 3 | EPISODE 4 |
EPISODE 5
| EPISODE 6 | EPISODE 7

LOGLINE: Once the nation’s best and most respected baseball GM, Sandy Alderson has been reduced to trying to revive a moribund franchise in the depths of deepest, darkest Queens. Along with his sharp-witted and adoring protégés, he fights off the seemingly endless series of controversies and crises that beset him while trying to run a sports team in the country’s most bustling metropolis, and still look fantastic while doing it. Can the pressures of such an important job crush this singularly talented and gifted individual genius?

ACT I

The front office, late at night, a manic scene. Assistants scurrying left and right from one end of the office to the other, clutching papers, yelling on cell phones, scribbling on dry erase boards. Caption: 48 HOURS TO DEADLINE. The camera pans through this chaotic scene, circling around random figures, for at least five minutes before proceeding into SANDY ALDERSON’s office. His assistants J.P. RICCIARDI and PAUL DEPODESTA are sitting on a large couch, each huddled over laptops with cell phones clenched in their shoulders. MACKENZIE CARLIN stalks the room, moving index cards around on a cork board and reviewing printouts. ALDERSON stands in the middle of them all, fielding every query calmly but firmly. The only person who looks nervous is DAVID EINHORN, who sits in an office chair and grabs on to a glass of scotch for dear life.

CARLIN
[handing over some papers] These trade proposals just came in.

ALDERSON
[scans each page and hands them back one by one] Pull the trigger, pull the trigger, hold your fire, keep the safety on, squeeze the trigger halfway and see if they flinch.

DEPODESTA
The Dodgers are on the phone. They want to know if they can have a second baseman on credit.

ALDERSON
Tell McCourt he needs someone with a decent credit score to cosign the loan. And make sure it’s not a psychic.

RICCIARDI
The office is getting antsy because we’re running out of food.

ALDERSON
Call up the kitchen and order up another 72 pizzas, 15 pounds of lo mein, and a small vat of Red Bull. And just a green salad for me. No radishes.

EINHORN
Jeez, Sandy. This trade deadline stuff is insane. I used to work on Wall Street, but this makes the stock market floor look like Girl Scout jamboree.

ALDERSON
Of course it does. You traders were just creating the financial future of our nation; we’re building a ball club here. Also, Girl Scouts don’t go on jamborees.

CARLIN
Yes they do.

ALDERSON
J.P., find out if Girl Scouts go on jamborees.

RICCIARDI
I’m on it.

EINHORN
Any of this balancing act going toward getting rid of our closer? Your predecessor gave him a contract option with an irrevocable 12-year extension and double-super no-trade clause that vests if he reaches 75 innings pitched. If that’s activated, we can say goodbye to resigning Grant Linwood, or anyone else for the next decade.

ALDERSON
No, David I was not aware of that because I’ve been living under a rock since I took this job, and I’m also blind, and I can’t read any of the newspapers who’ve been talking about it every day since spring training, and also I was born yesterday on the back of a turnip truck.

EINHORN
Alright, you’ve got the snark covered. How about some leads for a trade?

ALDERSON
We’re doing everything we can. The only thing that won’t help is worrying about it. My experience tells me these kinds of things tend to work themselves out. My mother always said, “For every old sock, there’s a shoe.”

EINHORN
That’s great. We’re on the brink of financial collapse and your solution is downhome folksy wisdom from your mother.

ALDERSON
Not a solution, David. Just a coping mechanism.

EINHORN
Until you can come up with more than that, I’m gonna have to tell our manager to keep the closer out of games.

ALDERSON
That would be a great way to sic the players’ union on us. We can’t keep him on the bench if we ever want to sign another free agent again. We have to just keep calm and carry on.

CARLIN
[handing over paper] The Yankees want our top prospect in exchange for an autographed picture of Kevin Maas.

ALDERSON
[handing it back] Hold out for half off the truffle fries at NYY Steak.

EINHORN
Ugh, too much talking and thinking in here. I need some air.

EINHORN abandons his chair and his drink and leaves the office, entering the even more chaotic venue outside. He narrowly dodges assistants zipping all over the place and yelling at each other, until he bumps into a confused looking GRANT LINWOOD.

EINHORN
Grant? What are you doing up here?

LINWOOD
It started as a quest for more sunflower seeds, and somehow I found my way into this office. I just picked up a random phone and I think I may have accidentally traded for a few Houston Astros prospects.

EINHORN
Impossible; the Astros have no prospects. But I’m glad I ran into you, Grant. I think I’ve thought of a way we can help each other out.

LINWOOD
I’m all ears, as long as it don’t involve getting naked or moving furniture.

EINHORN
I wouldn’t dream of making my number one star move furniture!

EINHORN puts his arm around LINWOOD and they walk off.

Continue reading Studio 60 on Roosevelt Avenue: Episode 8