The Grinch Grinches the Cat in the Hat
The Grinch Grinches the Cat in the Hat is a 1982 American animated musical television special and crossover starring the two characters created by Dr. Seuss, who wrote and produced the special: The Cat in the Hat and The Grinch from How the Grinch Stole Christmas!. It won two Emmys; the Grinch wakes up in a good mood one morning until his reflection in the mirror prompts him to repeat the "Grinch's Oath" and prove himself a Grinch. Meanwhile, the Cat in the Hat goes on a picnic, their paths cross when the Grinch can't get his car around the Cat's, things escalate into a fierce car chase after the Cat unintentionally insults the Grinch by calling him "Mr. Greenface." The Cat returns to the safety of his house, but the Grinch follows him there and tampers with his voice using a device he has invented, the "Vacusound Sweeper", in the process sabotaging other sounds within a 50-mile radius. The Grinch proceeds to his "darkhouse", a lighthouse that spreads darkness, to tamper with the Cat's sight.
The Cat becomes upset with the Grinch's hijinks and has a psychiatric session with him in a thought bubble to find out what makes him so mean-spirited. Predictably, he gets nowhere with the imaginary Grinch, so he decides to go over and have a talk with him, but the Grinch makes it so dark that he can't see where he's going, he crashes his car when he passes a "Dead End" sign; the Grinch's machine continues to mess with reality as the Cat rushes to the restaurant, making the restaurant and everything with it come crazily to life, his hijinks result in confusion all over the restaurant. The Cat is now furious with the Grinch and ponders to himself how he can change the Grinch racing through a door and sending himself hurtling into the Grinch's Dimension, he rallies everybody in the restaurant to follow him to the Grinch's house. There, he leads everyone in a song to remind the Grinch of all of the love he received from his mother and implore him to change his ways and be a better person, using his umbrella as a conductor's baton.
The Grinch, having a soft spot in his heart for his mother, cries when he hears this, disassembles his machines, continues his change of heart into the next morning. His reflection tries to convert him back to his old self, but Max drains out his voice with the Vacusound Sweeper. Mason Adams as The Cat in the Hat / Narrator Bob Holt as The Grinch / Waiter / The Grinch's Mother Frank Welker as Max / Waiter / Additional voices Joe Eich as Chef "A Beelzeberry Day" – The Cat "Relax-ification" – The Cat "Master of Everyone's Ears" – The Grinch "Most Horrible Things" – The Grinch "Psychiatry Song" – The Cat "Remember Your Mother" – The Cat / Chef / Musicians, Barbershop Quartet, String Octet, Waiters 1982 Primetime Emmy Award for Outstanding Animated Program. Both the Grinch and the Cat in the Hat were recast with different voice actors than the ones used in previous specials, all of whom had died. Bob Holt voiced the Grinch, while Mason Adams took over voicing the Cat in the Hat from the late Allan Sherman, who died in 1973.
Since Friz Freleng was absent from production on The Pink Panther special Pink at First Sight due to his departure from DePatie–Freleng Enterprises to return to Warner Bros. Animation, this was the only other animated DFE production to be made by Marvel Productions and one of the last DFE cartoons Freleng was involved in; the special was first released on VHS in the mid-80s via CBS/Fox Video's Playhouse Video division, reissued in the decade. This release used its working title The Cat in the Hat Gets Grinched; the special retained its normal name on VHS re-releases. It was re-released on VHS in 2000 by Paramount Home Entertainment, it was released on DVD by Universal Studios Home Entertainment. The special was released again on DVD by Warner Home Video on October 18, 2011 as part of the Dr. Seuss's Holidays on the Loose! DVD set, along with How the Grinch Stole Christmas! and Halloween Is Grinch Night. The Grinch Grinches the Cat in the Hat on IMDb
A euphemism is an innocuous word or expression used in place of one that may be found offensive or suggest something unpleasant. Some euphemisms are intended to amuse, while others use bland, inoffensive terms for concepts that the user wishes to downplay. Euphemisms may be used to mask profanity or refer to taboo topics such as disability, excretion, or death in a polite way. Euphemism comes from the Greek word euphemia which refers to the use of'words of good omen'. Eupheme is a reference to the female Greek spirit of words of positivity, etc.. The term euphemism. Reasons for using euphemisms vary by intent. Euphemisms are used to avoid directly addressing subjects that might be deemed negative or embarrassing. Euphemisms are used to downplay the gravity of large-scale injustices, war crimes, or other events that warrant a pattern of avoidance in official statements or documents. For instance, one reason for the comparative scarcity of written evidence documenting the exterminations at Auschwitz, relative to their sheer number, is "directives for the extermination process obscured in bureaucratic euphemisms".
The act of labeling a term as a euphemism can in itself be controversial, as in the following two examples: Affirmative action, meaning a preference for minorities or the disadvantaged in employment or academic admissions. This term is sometimes said to be a euphemism for reverse discrimination, or in the UK positive discrimination, which suggests an intentional bias that might be prohibited, or otherwise unpalatable. Enhanced interrogation is sometimes said to be a euphemism for torture. For example, columnist David Brooks called the use of this term for practices at Abu Ghraib, Guantánamo, elsewhere an effort to "dull the moral sensibility". Phonetic euphemism is used diminishing their intensity. Modifications include: Shortening or "clipping" the term, such as Jeez and what the— Mispronunciations, such as frak, what the fudge, what the truck, oh my gosh, darn, oh shoot, be-yotch, etc; this is referred to as a minced oath. Using first letters as replacements, such as SOB, what the eff, S my D, POS, BS.
Sometimes, the word "word" is added after it, such as S-word, B-word, etc.. The letter can be phonetically respelled. For example, the word piss was shortened to pee in this way. Ambiguous statements Understatements Metaphors Comparisons Metonymy Euphemism may be used as a rhetorical strategy, in which case its goal is to change the valence of a description from positive to negative; the use of a term with a softer connotation, though it shares the same meaning. For instance, screwed up is a euphemism for fucked up. There is some disagreement over whether certain terms are not euphemisms. For example, sometimes the phrase visually impaired is labeled as a politically correct euphemism for blind or a blind person. However, visual impairment can be a broader term, for example, people who have partial sight in one eye, those with uncorrectable mild to moderate poor vision, or those who wear glasses, groups that would be excluded by the word blind. Expressions or words from a foreign language may be imported for use as a replacement for an offensive word.
For example, the French word enceinte was sometimes used instead of the English word pregnant. This practice of word substitution became so frequent that the expression "pardon my French" was adopted in attempts to excuse the use of profanity. Euphemisms may be formed in a number of ways. Periphrasis, or circumlocution, is one of the most common: to "speak around" a given word, implying it without saying it. Over time, circumlocutions become recognized as established euphemisms for particular words or ideas. To alter the pronunciation or spelling of a taboo word to form a euphemism is known as taboo deformation, or a minced oath. In American English, words that are unacceptable on television, such as fuck, may be represented by deformations such as freak in children's cartoons. Feck is a minced oath popularised by the sitcom Father Ted; some examples of rhyming slang may serve the same purpose: to call a person a berk sounds less offensive than to call a person a cunt, though berk is short for Berkeley Hunt, which rhymes with cunt.
Bureaucracies spawn euphemisms intentionally, as doublespeak expressions. For example, in the past, the US military used the term "sunshine units" for contamination by radioactive isotopes. An effective death sentence in the Soviet Union during the Great Purge used the clause "imprisonment without right to correspondence": the person sentenced never had a chance to correspond with anyone because soon after imprisonment they w
The 500 Hats of Bartholomew Cubbins
The 500 Hats of Bartholomew Cubbins is a children's book and illustrated by Theodor Geisel under the pen name Dr. Seuss and published by Vanguard Press in 1938. Unlike the majority of Geisel's books, it is written in prose rather than metered verse. Geisel, who collected hats, got the idea for the story on a commuter train from New York to New England while he was sitting behind a businessman wearing a hat. Geisel concluded. Set in feudal times, the story begins in the Kingdom of Didd, when King Derwin is riding through a street past peasant protagonist Bartholomew Cubbins. Ordered to remove his hat, according to the laws, Bartholomew does so, but another hat mysteriously appears; the 500th hat, studded with massive gems and gilding, leaves Bartholomew's head bare. Stunned by the beauty of the hat, King Derwin grants him reprieve and trades him 500 gold coins for the 500th hat; the book received positive reviews from critics. The New York Times reviewer called the book "a lovely bit of tomfoolery which keeps up the suspense and surprise until the end."
Booklist, which had criticized Geisel's previous book, And to Think That I Saw It on Mulberry Street, for containing only enough material for one comic strip, praised The 500 Hats as "a brand-new idea, developed into a complete tale, not too long, not too short, just right. Somewhere between the Sunday supplements and the Brothers Grimm, Dr. Seuss has produced a picture book combining features of both." Alexander Laing, who had worked with Geisel on the Dartmouth Jack-O-Lantern humor magazine, wrote in his review of the book in the Dartmouth Alumni Magazine, "His several other occupations, madly fascinating as they are, may have been only preludes to a discovery of his proper vocation. That he is a rare and loopy genius has been common knowledge from an early epoch of his undergrad troubles, it now becomes plain that his is the happy madness beloved by children. I do not see what is to prevent him from becoming the Grimm of our times." Not long after publication, the story was adapted for an album issued by RCA Victor.
Narrated by Paul Wing, the audio adaptation had a running time of 37 seconds. The dramatization featured sound effects on two 10" 78rpm records in a bi-fold sleeve; this recording was played in elementary school classrooms during the early 1940s. Geisel wrote the script for the 1943 Puppetoon short of the same name for Paramount Pictures, produced by George Pal, it received an Academy Award nomination for Best Short. Unlike the book's illustrations, in which Cubbins' hats were all the same one, the hats in the film were of many different kinds. Minnesota's Children's Theatre Company produced a version of The 500 Hats of Bartholomew Cubbins for the stage in 1973, says this was the first theater adaptation of a Dr. Seuss work; the characters of Bartholomew and King Derwin returned a decade in Bartholomew and the Oobleck. Morgan, Neil. Dr. Seuss Mr. Geisel: A Biography. New York: Da Capo Press. ISBN 978-0-306-80736-7. RCA Victor: The 500 Hats of Bartholomew Cubbins "Hats Off to Dr. Seuss"
Comedy horror is a literary and film genre that combines elements of comedy and horror fiction. Comedy horror has been described as able to be categorized under three types: "black comedy and spoof." It crosses over with the black comedy genre. Comedy horror can parody or subtly spoof horror clichés as its main source of humour or use those elements to take a story in a different direction, for example in The Cabin in the Woods or Tucker & Dale vs. Evil. Author Bruce G. Hallenbeck cites the short story "The Legend of Sleepy Hollow" by Washington Irving as "the first great comedy horror story"; the story made readers "laugh one moment and scream the next", its premise was based on mischief found during the holiday Halloween. Horror and comedy have been associated with each other since the early days of horror novels. Shortly after the publication of Frankenstein, comedic parodies appeared. Edgar Allan Poe put humor and horror on the same continuum, many nineteenth century authors used black humor in their horror stories.
Author Robert Bloch called them "opposite sides of the same coin". In comedy horror film, gallows humor is a common element. While comedy horror films provide scares for audiences, they provide something that dramatic horror films do not: "the permission to laugh at your fears, to whistle past the cinematic graveyard and feel secure in the knowledge that the monsters can't get you". In the era of silent film, the source material for early comedy horror films came from stage performances instead of literature. One example, The Ghost Breaker, was based on a 1909 play, though the film's horror elements were more interesting to the audience than the comedy elements. In the United States following the trauma of World War I, film audiences sought to see horror on screen but tempered with humor; the "pioneering" comedy horror film was One Exciting Night, written and produced by D. W. Griffith, who noticed the stage success of the genre and foresaw a cinematic translation. While the film included blackface performances, Griffith included footage of a hurricane for a climactic storm.
As an early experiment, the various genres were not well-balanced with horror and comedy, films improved the balance and took more sophisticated approaches. Charles Bramesco of Vulture.com identifies Abbott and Costello Meet Frankenstein as the first commercially successful comedy horror film. Its success established it as commercially viable. List of comedy horror films List of genres Zombie comedy – a subgenre involving zombies Hallenbeck, Bruce G.. Comedy-Horror Films: A Chronological History, 1914–2008. Jefferson, NC: McFarland & Company, Inc. ISBN 0-7864-3332-9. Och, Dana. Transnational Horror Across Visual Media: Fragmented Bodies. Routledge Research in Cultural and Media Studies. Taylor & Francis. Pp. 201–208. ISBN 978-1-136-74484-6. Carroll, Noël. "Horror and Humor". Beyond Aesthetics: Philosophical Essays. Cambridge University Press. Pp. 235–253
Horton Hatches the Egg
Horton Hatches the Egg is a children's book written and illustrated by Theodor Geisel under the pen name Dr. Seuss and published in 1940 by Random House; the book tells the story of Horton the Elephant, tricked into sitting on a bird's egg while its mother, takes a permanent vacation to Palm Beach. Horton endures a number of hardships but persists stating, "I meant what I said, I said what I meant. An elephant's faithful, one hundred percent!" The egg hatches, revealing an elephant-bird, a creature with a blend of Mayzie's and Horton's features. According to Geisel's biographers Judith and Neil Morgan, Geisel claimed the story was born in early 1940, when he left a window open in his studio, the wind fortuitously blew a sketch of an elephant on top of a sketch of a tree. However, according to biographer Charles Cohen, this account is apocryphal, he found elements of Horton in earlier Dr. Seuss works, most notably the 1938 short story "Matilda, the Elephant with a Mother Complex". Horton Hatches the Egg was published to immediate critical acclaim and financial success and has remained popular with the general public.
The book has been used as the basis for academic articles on a variety of topics, including economics, Christianity and adoption. Horton appeared again in the 1954 Dr. Seuss book Horton Hears a Who! These two books provided the thrust of the plot for the 2000 Broadway musical Seussical; the book centers on Horton, a genial elephant, convinced by Mayzie, a lazy, irresponsible bird, to sit on her egg while she takes a short "break", which turns into her permanent relocation to Palm Beach. As Horton sits in the nest on top of a tree, he is exposed to the elements, laughed at by his jungle friends, captured by hunters, forced to endure a terrible sea voyage, placed in a traveling circus. However, despite his hardships and Mayzie's clear intent not to return, Horton refuses to leave the nest because he insists on keeping his word repeating, "I meant what I said, I said what I meant. An elephant's faithful, one hundred per cent!" The traveling circus ends up visiting near Mayzie's new Palm Beach residence.
She visits the circus just as the egg is due to hatch and demands that Horton should return it, without offering him a reward. However, when the egg hatches, the creature that emerges is an "elephant-bird", a cross between Horton and Mayzie, Horton and the baby are returned to the jungle. According to Geisel's biographers Judith and Neil Morgan, Horton Hatches the Egg was born in 1940, the day after New Year's, when he took a break from drawing in his Park Avenue apartment and went for a walk; when he returned, he noticed that he had left a window open in his studio and that the wind had blown one sketch on transparent paper on top of another, making it look like an elephant was sitting in a tree. This account was based on interviews with Geisel, who had told similar stories about the book's creation to reporters asking about his creative process since as early as 1957; the story had changed with each telling but always involved the fortuitous juxtaposition of drawings of an elephant and a tree.
Charles Cohen, on the other hand, found traces of Horton Hatches the Egg in early Dr. Seuss works. In an early installment of Geisel's cartoon feature "Boids and the Beasties", which began in Judge magazine in 1927, he juxtaposed a bird and an elephant. A few weeks he drew a story in which a whale ends up passed out in a catalpa tree. In a 1959 cartoon for Life magazine, he depicted a dachshund. In 1961, he drew an illustration for Judge that showed a walrus sitting in a tree, trying to hatch the eggs in a bird nest; some of his earlier work featured elephant-bird hybrids, which prefigured the elephant-bird that hatches at the end of Horton Hatches the Egg. In 1938, two years before Horton Hatches the Egg, Judge published the most obvious precursor to Horton, "Matilda, the Elephant with a Mother Complex", a short story by Geisel about an "old maid elephant" who sits on a chickadee egg until it hatches, only to have the newborn chickadee fly away from her. In 1939, Geisel created an advertisement for NBC featuring a sympathetic-looking elephant lashed with ropes and contained in a cage made of sticks, similar to Horton's situation when the hunters capture him in Horton Hatches the Egg.
In early drafts, the elephant's name changed from Osmer to Bosco to Humphrey. The final choice, was after Horton Conrad, one of Geisel's classmates at Dartmouth College; the bird's name changed from Bessie to Saidie and Mayzie. In the first draft, the elephant character volunteered to sit on the eggs for the bird, reluctant. Horton Hatches the Egg was published by Random House in fall 1940 to immediate success, it received positive notice from critics. Kirkus Reviews called it "sheer nonsense, but good fun." The reviewer for The New York Times Book Review wrote, "A moral is a new thing to find in a Dr. Seuss book, but it doesn't much interfere with the hilarity with which he juggles an elephant up a tree. To an adult the tale seems a little forced compared to his first grand yarns, less inevitable in its nonsense, but neither young nor old are going to quibble with the fantastic comedy of his pictures."The book found early success with book buyers and the general public. It sold 6,000 copies in 1,600 in its second.
Frances Chrystie, the juvenile buyer for FAO Schwarz, wrote to Bennett Cerf, Geisel's publisher, "I've been sitting alone in my apartment reading Horton aloud to myself over and over again... It's the funniest book I've seen... merchandise manager thinks he can find an elephant in the store, we can make a tree and l
Hans Georg Conried, Jr. was an American actor and voice actor, active in voice-over roles and known for providing the voices of Walt Disney's Mr. George Darling, Captain Hook in Peter Pan, for playing the title role in The 5,000 Fingers of Dr. T, Dr. Miller on The George Burns and Gracie Allen Show, Professor Kropotkin on the radio and film versions of My Friend Irma, his work as Uncle Tonoose on Danny Thomas's sitcom Make Room for Daddy, multiple roles on I Love Lucy. Conried was born on April 15, 1917 in Baltimore, Maryland to parents Edith Beryl and Hans Georg Conried, Sr, his Connecticut-born mother was a descendant of Pilgrims, his father was a Jewish immigrant from Vienna, Austria. He was raised in New York City, he went on to play major classical roles onstage. Conried worked in radio before working in movies in 1939. During World War II, he enlisted in the United States Army in September 1944. Conried trained at Fort Knox as a tank crewman until the army decided, he became a heavy mortar crewman was sent to the Philippines as an engineer labourer until fellow actor Jack Kruschen obtained his release for service with the Armed Forces Radio Service.
One of Conried's early radio appearances came in 1937, when he appeared in a supporting role in a broadcast of The Taming of the Shrew on KECA in Los Angeles, California. Four years a newspaper reported about his role on Hedda Hopper's Hollywood: "But at the mike he's convincing as old men, dialeticians, or Shakesperean tragedians. Miss Hopper favors him for her dramatizations when the script will allow him, as she puts it,'to have his head.'"Conried appeared on radio during the 1940s and 1950s. He was in the regular cast of Orson Welles's Ceiling Unlimited, for which he wrote the December 14, 1942, episode, "War Workers". On CBS's The George Burns and Gracie Allen Show he played a psychiatrist whom George consulted for help in dealing with the ditzy Gracie. Conried made his Broadway debut in Can-Can and was credited in six films, all in 1953. Other Broadway productions include Girls, 70 and Irene, he can be heard on the original cast recordings of Cole Porter's "Can-Can" and Kander & Ebb's "70, Girls, 70" where, among other songs, Conried performs a sensational fast-paced patter song called "The Caper."
Conried's inimitable growl and impeccable diction were well suited to the roles he played, whether portraying the dim Professor Kropotkin in the radio show My Friend Irma or portraying comic villains and mock-sinister or cranky types, such as Walt Disney's Mr. Darling, Captain Hook in Peter Pan, The Grinch/Narrator from Dr. Seuss' Halloween is Grinch Night. According to the DVD commentary of Futurama, he was the inspiration for the voice created for that series' "Robot Devil". Conried was a cast member of other Dr. Seuss specials, The Rocky and Bullwinkle Show, voicing the character of Snidely Whiplash in the Dudley Do-Right shorts, a creation of Jay Ward and Bill Scott, as well as Wally Walrus on The Woody Woodpecker Show, Uncle Waldo P. Wigglesworth on Hoppity Hooper, Dr. Dred on Drak Pack, he performed as the "slave in the mirror" character, hosting several memorable episodes of Walt Disney's Wonderful World of Color. Besides hosting Fractured Flickers, Conried was a regular panelist on CBS's pantomime program, Stump the Stars and a semi-regular guest on the Ernie Kovacs-hosted game show Take a Good Look.
He was a regular guest on Jack Paar's Tonight Show on NBC from 1959 to 1962. Conried joined the cast of The Tony Randall Show during the 1977-78 season. Guest appearances included I Love Lucy Davy Crockett, The Californians, Meet McGraw, Jeannie!, The Ray Milland Show, The DuPont Show with June Allyson, The Real McCoys, The Many Loves of Dobie Gillis, Mister Ed, The Islanders, Ben Casey, Dr. Kildare, Lost in Space, Daniel Boone, The Beverly Hillbillies, The Lucy Show, Gilligan's Island, The Monkees, Have Gun – Will Travel, American Style, Here's Lucy, Alice, Laverne & Shirley, The Love Boat, Hogan's Heroes, Match Game, The Donna Reed Show, What's It For, Fantasy Island and Quark. From 1955-64, Conried made twenty-one guest appearances as Danny Thomas's Lebanese "Uncle Tonoose" in Make Room for Daddy on ABC and CBS, he was featured in the 1958 episode "What Makes Opera Grand?" on the anthology series Omnibus. The episode, an analysis by Leonard Bernstein showing the powerful effect of music in opera, featured Conried as Marcello in a spoken dramatization of Act III of Puccini's La Bohème.
The program demonstrated the effect of the music in La Bohème by having actors speak portions of the libretto in English, followed by opera singers singing the same lines in the original Italian. He married Margaret Grant on January 29, 1942. Conried had a history of heart problems and suffered a stroke in 1974 and a mild heart attack in 1979, he managed to remain active until his death on January 5, 1982, one day after suffering a massive heart attack and three weeks short of his 40th wedding anniversary. His remains were donated to medical science. Hans Conried on IMDb Hans Conried at the Internet Broadway Database Hans Conried at the TCM Movie Database Hans Conried at AllMovie Hans Conried at Find a Grave Hans Conried radiography at Radio Gold Index