The brave little toaster worthless

Continue Blogging about things and things Is a post a bit outside of my usual blogging field, but I think it will be a lot of fun regardless. This is actually a modified version of the email I sent to Meem, SB, and Daryl 1 back in January. Because I wanted to immortalize it a little better, and to share it with a wider audience, I decided to port it to dinosaur Bear. Although I changed some parts, added a few photos, and redesigned formatting (which was horribly broke and eventually required at least 30 formatting edits), this is pretty much the same generic thesis as it used to be - just more blog friendly. This is definitely one of those occasions where I will deeply analyze and explore something that probably never intended to be thoroughly studied, or maybe it was, and that's what makes it fun. However, if you have no interest in in-depth discussion of old cartoons, or seeing my more analytical side, then you probably won't find much interest in this post. However, I still recommend you give it a chance simply because there are some very interesting things here. I'm going to talk about the 1987 movie, Brave Little Toaster, more specifically, I'm going to focus on my song, Worthless. Most people who were children (or had children) in the 87- 97 range are familiar with Brave Little Toaster (TBLT). From his cute characters to his not-so-subtle sexual/dependent hue for the Teacher. If you don't remember it well enough (or if you've never seen it), you should watch it again someday, it's on YouTube for free. Either way, it's billed as a Disney movie, but the fact is that it's not. In fact, it was produced by Hyperion Animation and Kushner Locke. It's worth noting: the entire budget of the film was 2.3 million dollars. Which may seem like a lot for 1987 and animation, but it was actually grim. By comparison, Disney's average animation in the same year received $24 million. TBLT was sent to Jerry Res. It was based on the novel Brave Little Toaster: A Tale of the Night for Small Devices, by Thomas Disch, which was written in 1980. Since the film's budget was so low, all production was done in Taiwan. In fact, the American crew spent six months there watching the production. That's why the animation wasn't as sharp as other late 80s cartoons - they used lower-skilled artists who were much cheaper. That being said, production values are still very high for what they had to work with. The production team was also pretty well trained, in fact two members - John Lasseter and Joe Ranft would later move to raise Pixar to power it today and in Degrees responsible for writing Toy Story - think about the similarities between TBLT and the toy story franchise: makes sense! Disney has just acquired the rights to the film The Sundance Film Festival, where the premiere took place.Disney then proceeded to ruin much of TBLT's success could have been by making it right on TV for the Disney Pay-Per-View channel, which is not very fast. My point in all this is to say that TBLT was a largely uninhibited bureaucracy. They could do things like an independent studio that someone like Disney would never let them do. The most obvious example is the evil clown scene (which, to date, is still censored on every Disney-owned movie replay). But there were also more subtle things, such as one of the instruments during the song This B-Movie with tit.es.. No seriously, it doesn't take much imagination to see the boobs, just skip until 0:40 in this video I'm linked. But unlike many other such hidden sexual innuendo in children's films, TBLT did not stop there, it went on to show the murder on the screen. Sure, it was a blender, but given that it's an anthropomorphic creature when it gets ripped up asunder, and then you see oil flowing off the table, it's pretty much killing (don't pay attention to all the cars from the trash yard, but we'll get to that soon enough). So there's a lot of symbolism to be found in this movie. Jerry Rees was especially careful to plan out every little detail, from the shots of the intro panning the cockpit, to the flower site, to the final shots. However, I would say that no part of the film was more symbolic and multifaceted than the dump scene. However, I can't just say that and leave you on video. So in an attempt to reduce my chances of appearing apothenic, I'll be breaking things down pretty much line by line. But first, a little reminder of where we are in the film. In fact, our team of devices is looking for an adult Master. They actually managed to find their apartment in the city after being dumped in their children's cabin, but new appliances throw them in the bin. They then arrive at this landfill where they are in the midst of facing a real danger: a magnet. Giant magnet, like other anthropomorphic characters, are driven by the main directive of the task, as well as all good machines. That means he's going to crush anyone or anything in the landfill, the end of the story. Soon enough, our team of devices realizes that they are not alone: a sea of dilapidated cars is about to meet a terrible fate, there is something to tell. 0 Now, without reading anything else in this post after this paragraph, go look. If you don't hit any of the other scenes above, it's not a big deal, but you really have to watch a Worthless song like this in the movie to have any idea of what I'm talking about. I tied No. version, since the original is busted between abbreviations on other scenes that don't matter for the purposes of this post. So ignore the little clips in between. The quality is pretty bad, the longer version has the best quality, but it adds more than 2 minutes of completely irrelevant (for our purposes) material. Also, the low quality means that the lips are a little out of sync, but since this cartoon is really not so troublesome. If that really bothers you though, you can easily find a higher quality longer version, with clips in between. Brave Little Toaster - Worthless 0 Even without reading what I'm going to say, it's pretty easy to see that it's a slightly darker song for a children's cartoon. First, the cars are crushed into tiny cubes, perfectly aware of the vicious death, waiting for them when they go down the conveyor belt. The lyrics themselves are also melancholic. Not that it's particularly surprising, given that it's pretty much a death yard. I remember watching it as a kid, I liked the song, but even then I remember bothering something about this scene (Scene Blender bothered me more to be fair - but there was just something wrong with this scene for me, even then). So, with that in your head. Here's some more information about the song. First, the music in TBLT was written by David Newman, who worked on many, many films, from TBLT to Sandlot, to Dr. Doolittle, to Never Been Kissed. The lyrics came almost entirely from Van Dyke Parks, who wrote extensively for the Beach Boys, as well as working with other artists such as Ringo Starr (Worthless was one of the songs written by Parks). However, as with many older films, there were many people who worked on TBLT without enrollment. One such person was Jim Cypherd, a music producer who produced none other than Bat Meat Loaf from Hell. Yes, TBLT has a link to Bat Out of Hell. Cypherd was associated with the famous Italian director Federico Fellini, namely, they talked about Cypherd relief with some sound production of some of Fellini's later works that never panned. That being said, Cypherd became a fan of Fellini's films, especially 8 1/2, which is considered by many to be Fellini's greatest work. The big theme of this film was the danger of rampant and rapid modernization (which is a strong underpowering in TLBT - see Cutting Edge) I'll get back to that in a minute, but now just remember that Fellini wasn't actually involved in TBLT, but that there was a professional connection. Okay, now you're ready to start parsing the song a second time. I will work through the scenes and lyrics. Obviously you won't be able to follow along in real time. But for reference I use the No Break version above (and here again, for reference). As a starting point, I don't just blindly do it all. Some of them analyzed from various interviews Rees has given over the years, as well as secondary interviews such as Cypherd and Parks. There is, admittedly, also a bit of sleuthing in pairing together the most likely interpretations, but in light of this I have tried to minimize raw guesses. Like most good works, there is a lot left up to the interpretation and what follows my personal thoughts on the subject. Below I progress through the song, you'll find lyrics in italics (with a few exceptions where I use them for accent) and my thoughts in standard block letters. Brave Little Toaster - WorthlessI can't take this kind of pressure I must admit, another dusty road will just road too long0 This car serves as an introduction not only to the song itself, but also to the death of the scrap yard environment. His texts are quite simple, though gloomy. The first line: I can't take that kind of pressure, is, like most songs, dual-purpose lyrics. Not only does he get smashed (while grabbed) by a magnet and is about to be completely destroyed by a crusher, he is collapsing to the demands of his life. Simply put, he can't handle it. Its second and third lines: I have to admit another dusty road will just be the road too long. Make it obvious that he is tired, quite possibly depressed. He just can't move forward (literally) in life anymore. It seems that this car has given up and is ready to go. However, pay attention to his last minutes. In particular, 0:23 and beyond. In the last moments of his life, he looks in horror. His behavior was pretty calm up to this point, but all of a sudden, in those last minutes, it's almost as if he wanted to live. The blue car is the finality of death, it serves as a warning to failure, since you could not understand what you have until it is too late. WorthlessAnd now we hear our background chanting Worthless on cars in the landfill. It's easy to miss it for the first time. But they sing Worthless at the very moment when the mutilated body of the Blue Car begins to move away from the screen and descend on the conveyor belt. Is his death doing nothing, or was it his life? We haven't been given an answer yet. Pink convertible I just can't-I just can't-I just can't seem to start don't have the heart to live in the fast lane All that's gone and gone the first line of quasi-onomatopoeia. I know there's a literary device that fits the definition better, but I can't think about it. Either way, I just can't-I just can't-I just can't seem to get started, tells us two things. First, it almost sounds like engine revs and is unable to start. I just can't -- I'm I can't. It doesn't take much imagination to see Second, this car can't go away. Unlike the Blue Car, which does not even try, the Pink Convertible is actively trying to get away from the impending magnet. Don't have the heart to live in a fast lane, all that's gone and gone. Here again, the pink convertible is a little different from the blue car. While he seems a little jaded by his past (until those last moments) the pink convertible almost seems like she might be there again. However, she can't get started, she doesn't have the heart to live that life again. That doesn't mean she doesn't want to, but all that's gone and gone is too much for her to cope with. When she is crushed it is much faster than The Blue Car, which leads us to believe that perhaps in her last verse she came to an agreement of her situation and did not resist the crusher as much as she may have been just a few minutes ago. Worthless Back to the chorus. This time it seems a little more clear that it was a death that was worthless, but perhaps that is being optimistic. The obvious hint is dialogue: And there is no nothin' you can do about it! Fast follow forgive me while I panic! This seems to hint at the futility of being something that applies to us by others. We'll get to that in a minute. I hail from KC, Missouri, and I got my kicks on Route 66 Every truck stop from Butte to MO Motown to Old Alabama from Texas and east of Savannah from Tampa to old KokomoThis is actually my favorite stanza song, and I think the singer (whoever he was, I wasn't able to figure it out) voiced the machine perfectly. Here the texts make a little difference. We are dealing less with personal elements to become useless and even more so with broader cultural themes. In a nutshell, Hot-Rod is a testament to the dying American dream, particularly the fall of Americana. He doesn't complain about his condition as a Blue Car and a pink convertible, he reminisces about how huge his life was - about the open road and cruising freedom. Around the time TBLT was produced, Route 66 was desserted and officially replaced by an interstate system: the death of an era many would call (and still is) would call it. Hot Rod's personality was the sense of freedom that came with the rise of the open road. He was pretty traveling, just look at all the places he made up his mind (and yes, he means Kokomo, Indiana). Hot-Rod seems to hint that we couldn't move in a better direction. Perhaps our multi-lane, high-speed, reckless interstate and fast-paced society that they discover come at the expense of American ideals. But not everything is good in the world of Hot-Rod. Look closely at 1:07 ahead. His steering wheel turns left and right in vain in a desperate attempt to get out of the crusher's mouth. It may look like a pink convertible in this he looks back even more tenderly than she did. However, in the end, he was not quite ready to give up in the same way. He doesn't want to die. I'd also point out that at 1:15 his gut spray is all over the look cars. Dark enough for you yet? WorthlessHere Worthless probably connects more with the events that led to the end of Hot-Rod. If the American hadn't died out, he probably would still have been running on the open road. Are cars useless, or are they their owners? Once I ran the Indy 500 I have to admit I'm impressed with how I did and I wonder how close that I came now I get the feeling of dipping I was at the top of the line Out of mind, out of sight so much for luck and glory0 another link to Indiana. I'm not sure if it's just relevant, or if there's more to it, I'm going to go with the topical at the moment. These texts start a little more positively. Once I ran the Indy 500, I have to admit I'm impressed with how I did and I wonder how close that I came. It seems fair enough he looks back to his big race, and while he hasn't won, he's been impressed with himself. He has a bit of doubt about himself, but overall he seems impressed (perhaps despite himself) that he did as well as he did. However, note how quickly his behavior changes at 1:30 a.m. The visual effects are synchronized with the lyrics, Indy Car literally sinks as it gets a feeling of immersion. However, he also comes to terms with something horrific about his death. Since he didn't win, no one will remember him. He was on top of the line, but now he's out of sight and out of sight, so much for his fortune and fame. No one remembers who finished second. We are the culture of winners, the second place is the first loser. We don't appreciate the fact that he was proud of himself, he'll never be remembered. As he is crushed, so is his very existence. A Texas limousine once picked up by a Texan for a wedding, which took a Texan to a wedding he continued to forget his loneliness by allowing his thoughts to turn to the house and returnThese songs mark a turning point. While the previous texts are pretty straight forward (even if the audience of children will miss them, according to the design) the texts of the Texan limousine get a little cryptic. If it wasn't obvious from the long horns, she mentions that she's from Texas, or at least took the Texan to the wedding. Now here I'm honestly a bit stumped. We have surprisingly little information about this song to begin with. But part of the Texan limo has no available backstory to it, or at least anything I could find. For example, why does she repeat once took a Texan to a wedding twice? In a song so full of symbolism that it is either a red herring or it has a hidden purpose. Newman, Parks, Rees, Cypherd, etc. were silent on this (or no one asked, either or). Now the opinion is ambiguous on the next part. He went on to forget his loneliness, allowing his thoughts to turn to And he came back. You can go two ways with this. Was the Texan a guest, or was he the groom? In any case, it potentially makes sense. I think it was the groom. He's got cold feet. He forgot what it was like to be lonely, he wanted to go back to how things used to be (at home) and so he came back. However, The Way And Came Back just kind of hanging on at the end of the song it seems maybe its ending wasn't so happy after all. It's a bit nihilistic, but that mesh is good with the song as a whole. It's not the end of the Texan limo, though, the story deepens into a moment. I took a man to the cemetery I apologize, it's pretty hard enough just to live with the stuff I learned0 considering how fast the scene goes through a lot of people miss that this machine is actually a hearse. If you miss out, that might seem like it's talking about taking someone to a funeral. Well, he is, but it wasn't a guest, it was a dead man. There was a dead body in that car. It is also likely that, although he treats a person in a special way, he probably took a large number of dead people to their final resting place. I'm sorry, it's hard enough just to live with what I've learned. These two lines are interesting. He is defiant: I apologize, its hard enough just to live with the material I learned. Someone asks him to do more, maybe it's an inner voice, maybe it was a master. But it was done, he had enough. As a hearse, he probably witnessed the worst people and the worst times. He was in many ways a modern Charon.And while his lyrics are dark enough as is. Notice how the scene plays from 1:51 a.m. It's exactly the same scene as a Texas limo. Now, from a practical point of view, this can be done as a cost-cutting measure. This argument may well sound true at least for the first part, but note what happens next: Hearse fell on a Texas limousine (not to mention that a Texan limousine would have been crushed long before that, given how fast it moved, but the cartoons are a perfect example of suspending disbelief anyway). These are the only two cars in the whole song that die together. It may have been left on that if Cypherd hadn't mentioned in an interview with a blogger that they intentionally paired these two machines. That probably means one of two things. First, the groom/guest from Fancy Car committed suicide and Hearse gave birth to his body. Or two, the joy of a wedding (fragmented and hollow, as is often the case) is opposed to death. A lot of people buy into groom suicide, I think it's too much of a stretch and a bit gimmicky. I think they're pairing a false wedding with death. WorthlessM We go back to the choir for the first time in a bit. Here I think it's pretty clear. We're moving even further away from cars themselves. Worthless is not only referring to the condition of the cars, it is referring to the problems and socially created dogma that have been placed on their owners that have leaked to them. After the surf went to the sunset There were bikinis and buns, there were weenies Fellini just could not forget Pico, let's go up to zuma Pico, let's go up to zuma from zuma to Yuma, rumored that I had a hand in the lying ground0 And here we have a big link to Fellini. These lyrics aren't too gloomy, but they deal with something a little serious that you never get as a child, and are likely to miss even in adulthood. Remember, it was Parks who wrote these texts. Parks worked closely with Brian Wilson (of the Beach Boys). So if you read Woody's texts through the lens, nothing seems particularly abnormal. Woody evokes surf culture and lyrics in themselves are very similar to Surf City, the 1963 song that was the first surfing music song ever to hit number one on the Billboard Charts. However, like the rest of Worthless, the texts go deeper than that. Basically this part: There were bikinis and buns, there were weenies, Fellini just couldn't forget. And you'd be there. Federico Fellini was known as a free, sexually upset man. He grew up strictly Roman Catholic, and then criticized all the limitations and guilt- inducing principles he felt such an upbringing entailed. Thus, many of his films concerned his hidden and suppressed sexuality, especially towards young women. In fact, almost all of his films contained autobiographical elements that dealt with subtle sexual problems as Fellini struggles with them. Also, Fellini liked to break on the fourth wall, not in any long or elongated paths, just a quick break followed by a return to the film as expected. Cypherd convinced Newman, Parks and Rees to include a bit of Fellini in the lyrics, especially since Fellini was so well known on the West Coast (California) for being a little wild. So literally, these texts refer to a beach party with attractive men and women and Fellini just couldn't forget the sexual energy. It's about sex, it's always about sex. Now, as far as Pico is concerned, let's go to zuma.' We don't know. It's a beach that's very easy. We have no idea who or what Pico is. Interpretations go in two ways. One, Pico is a man, perhaps a random surfing man (Woody's master) or Pico was a hidden boy-toy sex object Fellini (who is probably bisexual, but this has never been confirmed). Cyferd, etc. Al. were mom about this part of the song. Well, this means Pico Boulevard, which is logical, but Pico doesn't go anywhere near the beach of zuma. So choose on that. It is also repeated twice, for no real reason, perhaps just an auditory device (the same for the poems of a Texan limousine). I had my hand in the lying ground also divided in interpretation. One theory is that Woody herself is talking about changing the lying land, surfing culture, western population movement, great Hollywood, movie stars, etc. It's all quite possible, and it's probably a take I go with. Thus, it is mostly either culture or individual. Speaking of Fellini, if it wasn't obvious. Watch at 2:16. What is going on? Woody loses one of her eyes, which literally breaks the fourth wall (er, glass): as Lampy looks outwards at the audience and is shocked by what he sees. Woody then lands on his back, unable to escape. It either swings in an attempt to escape, or just swings because of the momentum. It's a little hard to tell how she feels about death, given the style and prose of her songs. Fifteen years after the film was released) the line had bikinis and buns, there were weenies that were changed to pointless kinis and huns on weenies as a way of reducing sexual overtones. However, they did dub very badly, so you can hear the old lyrics distorted under the new hastily added lyrics. I think the budget for the soundtrack was very low, as it was a limited release done in the first place to appease hardcore fans (this film has a pretty large cult following - but only the original, sequels tend to be considered rubbish). Get up and go hit highwayNow we have a noticeable shift, no singing useless. Instead we get to get up and go on the highway. Which, admittedly, The Master does just that in the next scene (Note that The Master is in an interracial relationship, it was actually quite a big deal for a cartoon, as even in 1987 Disney still does not allow). So, it's either a simple transition, or most likely, ever presenting a car background just being told to get over yourself and move on. I have a feeling that this is an ex, especially considering how much a hive-mind deal with it is the attitude of background cars, it seems (except forgive me while I panic! ooh...) I was working on a reservation (Ooh... ooh...) Who's going to believe they'll love me and leave the bus back to old Santa Fe? Once in the Indian nation, I took the kids on skids where Hopi was happy until I heard them speak... Here we have a very sharp and sharp shift in the tone of the song. Even cars are more muted and sinister. While the Texan limousine saw the rate increase, which was supported through Woodie, things slow way down for a pickup truck. It's really not for nothing. His lines are just about the biggest slam dished out during the entire song. I've been working on booking, puts us geographically. By reservation, of course, he means the Reservation of Native Americans (if you have any doubts, note that it refers to the Hopi). Who's going to believe they're going to love me and leave by bus back to old Santa Fe? He talks about booking a flight, which is a huge problem right now, in which Native American children grow up very poor on their reservation, then leave and never return. Not different from many small towns in America, but it's even worse for reservations, given a much more limited population. This, in fact, kills tribal cultures. He then talks about his last days on the reservation. I took the kids on skids where Hopi was happy until I heard them speak... It shows what he did. It transported people who were in difficult times on the reservation, especially children (who later refused reservations). He worked for The Hopi and they were mutually happy. The phrase is a bit confusing here, but the lyrical means to say that both the Hopi kids and the pickup were happy until they were told. This is a stark indictment of our treatment of Native Americans in addition to ourselves. See what happened? He was happy with himself, but then someone said: You're worthless (quite a lot of parallelism) and threw it aside. What right should they have called it useless? What right should we call others useless? Is their subsequent reaction to it blaming the victim, or should we never have been labeled as such in the first place? But it gets even darker. Watch carefully. The pickup truck killed himself. He successfully escapes from the magnet. And if you look at the angle it's likely that he rides right on the conveyor belt himself and then just sits there until he dies (and splashes all over our stellar technique). Yes, TBLT just pretended to be suicidal. He found a target that was then stripped of it because of its labeled worthless. Society no longer needed him, so he killed himself, not carried away by a magnet. It was the last act of defiance. It serves to show that there was nothing wrong with it, and we created a flaw in it. , it's all on YouTube). Of course, the Master fixes the toaster, but nevertheless, it is intense for a children's film. I originally wrote this post I was under the presumption that Toster was canonically a girl. This stems from a series of comments made by Rees in which he referred to Toaster as a girl (the last example was the AMA he did on Reddit). My point was backed up by Deanna Oliver (voice actress Toaster), who originally referred to Toaster as the girl as well. As for the original version of the novel, Dish only named Toaster as it is. So with Dees and Oliver referring to Toaster as feminine and source material without giving toaster sex, I figured I'd follow the presumption of the director and the voice of the actress. On closer inspection, however, there is a point in the film when Toster is referred to as the guy (the air-conditioned scene). To add to this, in a more modern (though now a few years on) interview that featured both Rees and Oliver, Oliver refers to Toaster as a boy, and Rees says nothing about it. Now, in the context of Oliver's quote I can't be a Toaster, Toaster Boy! - it's not entirely clear that Toster was, in fact, a boy or that Oliver misinterpreted the floor of Toaster (which is easy to do, thus 30 years of debate on the topic) at the beginning of the audition process. As for Rees, perhaps he didn't want to meddle over Oliver, didn't care not to catch him, or - also perhaps - he agreed with him. So in the end, you can argue that anyway. The latest comment on Toaster sex is from Rees and he refers to toaster as a woman. However, the film itself has one character to refer to Toster as a guy (who also may not be definitively male, but it's stretching it) and the voice actress is variatively referred to as Toaster as both male and female. So you can make a decent argument anyway to sex Toster. The most logical argument probably comes down to the film's (and therefore perhaps the most definitive) use of the guy's words against repeated and rather recent references to Toaster as a woman. But the debate will rage and in the end whether Toster is him, it is, or it has little to do with the themes of the film as a whole or worthless as a song. So you have. Worthless is a critical allegory of our self-centered culture that avoids traditional norms in favor of the fast bloating of modernity, rendering void those we view as diverse and creating impossible stressors even for those of us who adapt. It's all disguised as a bunch of cars in a children's movie. This song always haunted me a bit as a kid, now I know why. To this day, I think TBLT has some of the best music in An American cartoon production ever. Despite the low budget, I think their lack of rigid restrictions allowed them to explore and create lyrical revelations that big diligent cartoons still don't catch up. In fact I recently bought a TBLT soundtrack, I can't say that for any other cartoon. I certainly welcome your thoughts and criticisms. Criticism. the brave little toaster worthless lyrics. the brave little toaster worthless no interruptions. the brave little toaster worthless instrumental. the brave little toaster worthless fast. the brave little toaster worthless soundtrack. the brave little toaster worthless real life. the brave little toaster worthless slow. the brave little toaster worthless multilanguage

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