Sidney the elephant

Sidney

Sidney

Sidney

Pachyderm, orphan, depressed, now an adult but more whining, also known as "Silly Sydney" or "Sick Sick Sidney" or "Bombo", Sidney lives in the jungles of Africa.

Naive and neurotic, incredibly clumsy, sucks its proboscis to feel secure blackberries, is afraid of everything and is bothered by the noise of the jungle.

"Stanley the Lion" and "Cleo the Giraffe", almost subrogation respectively in paternal and maternal roles of Sydney, are always on hand to protect him from any serious dangers.

The Sidney character was first released to theaters and later aired, from 5 October 1963 up to 1964, as a component of the Saturday morning cartoon "The Hector Heathcote Show" broadcast on NBC.

The original sound track of TV’s colorful cartoon program with the complete cast in 6 entertaining stories starring Hector Heathcote "The Minute and a Half Man”, Hashimoto-San and Sidney the Elephant, from Terrytoons. RCA Camden Records, 1964.

FIRST APPEARED: 
4 June 1958.

CREATOR:
Eugene "Gene" Merril Deitch

Eugene Merril Deitch (8 August 1924)

MUSIC: 

Philip A. Scheib

Philip A. Scheib (1894 - 1969)

VOICED: 

"Sidney the Elephant": Lionel Wilson & Dayton Allen;

"Stanley the Lion" & "Cleo the Giraffe": Dayton Allen.

Lionel Wilson (1924 - 2003)

Dayton Allen (1919 - 2004)

PRODUCER:

Terrytoons (and C.B.S.).

DISTRIBUTOR:

20th Century Fox.

CHARACTERS:

Sidney the Elephant

Stanley the Lion
Cleo the Giraffe
Mother Monkey
Papa Monkey
Rhinoceros
Ivory Hunter
Melvin the Mouse
Two Buzzards
Plantation Owner
Pirates
Fairy God-Elephant
Lion
Heminghunter
Assistant

CARTOONS:

SICK, SICK, SIDNEY (4 June 1958)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SIDNEY'S FAMILY TREE (1 December 1958)
("Academy Award" nomination in 1958)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe, Mother Monkey, Papa Monkey.

HIDE AND GO SIDNEY (January 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe, Two Buzzards.

TUSK, TUSK (3 April 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe, Rhinoceros, Ivory Hunter.

THE LITTLEST BULLY (9 August 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Melvin the Mouse.

TWO TON BABY SITTER (4 September 1960)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

BANANA BINGE (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

FLEET'S OUT (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

MEAT, DRINK AND BE MERRY (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

REALLY BIG ACT (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

TREE SPREE (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Plantation Owner.

CLOWN JEWELS (1961)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Cleo the Giraffe, Stanley the Lion, Pirates.

PEANUT BATTLE (25 April 1962)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SEND YOUR ELEPHANT TO CAMP (4 July 1962)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

HOME LIFE (1962)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SIDNEY'S WHITE ELEPHANT (1 May 1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

DRIVEN TO EXTRACTION (28 June 1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

SPLIT LEVEL TREE HOUSE (November 1963)
(TerryToons);
featuring Sidney the Elephant.

SIDNEY (4 December 1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Stanley the Lion, Cleo the Giraffe.

TO BE OR NOT TO BE (1963)
(TerryToon Cartoons, CBS Productions);
featuring Sidney the Elephant, Fairy God-Elephant, Lion.

GAMES:

The "Silly Sidney" game, published by "Transogram" in 1963.



COMICS:

"New Terrytoons", number 1, published in U.S.A. by "Dell publishing Co. Inc." in June-August 1960, price 0,10 USD, 36 pages (the first comic book story featuring Sidney).

...for me, after the cartoons of Disney, the best cartoon of my life: one endless poetry.

Modern mysteries.

In the life of every human being there are moments in which it is inevitable ask themselves questions to which there is no answer.

There are the eternal questions (the mystery of suffering, the mystery of faith, the mystery of life after the death, etc.), questions that have their roots in the mists of time.

And there are modern mysteries, related to the contingency of time, but full of perverse fascination and in comparison to which even the solution of the mystery of the creation of the universe becomes a play for children:

1) why the elderly always they stop in the middle in the supermarket aisles and in  the middle of the stairs?

Whether they are choosing from the shelves placed on their right or whether they're choosing from the shelves placed on their left, anyhow, the elderly (above all women...) are not going to be placed to the right or the left, but, always, they occupy the exactly central space and in such a way as to ensure the obstruction of the passage of the other customers.
Not to mention when the elders come down the stairs.
Even when they hold the railing and, therefore, are on the side, they always manage to occupy the center of the stairs and to prevent the passage of third parties,

2) why the manholes are always placed at the middle of the streets?

It would be too logical that they were placed at the edge of the road or on the sidewalks. Instead, their position in the center of the roadway makes them inevitably subject to continuous contact with the tires of vehicles and, therefore, both because it never perfectly leveled with respect to the asphalt road and both because they offer a grip differently than the asphalt road, they are removed from the original site (causing even damage to the surrounding area), produce damages to vehicles and increase the falls to the ground of motorcycles and their drivers,

3) why the sofas and armchairs are always lower than the chairs?
The chairs have the negative characteristic of having a surface uncomfortable, because of the narrowness and hardness of the point of sitting, but have the positive feature of having a height of the seat surface, which makes easy the movement of the sit and, above all, the subsequent movement of getting up.
So, armchairs and sofas, always designed and built with the declared purpose of presenting a greater comfort than chairs, inevitably should have a support surface wider and softer than that of a chair, however, with maintaining a height of the plane of sitting like a chair to allow (like a chair) an ease when sitting and when getting up.
Instead, inexplicably, sofas and armchairs have a level of the seat surface, considerably lower than that of a chair, making very difficult, specially for the elderly, the act of getting up.

4) why older people often driving cars with the seat back reclined exaggeratedly?
The elders, with the passing of the age, they lose some physical qualities essential to driving, such as reactivity, the view, the ability to twist sideways of the neck and the mobility of arms.
However, if to overcome the first limitation there is no remedy, and if to overcome the second limitation there are the glasses, to obviate the third limit (the reduced ability of twist sideways the neck) would be natural of retract the base of seat (so you can control a greater range of vision, with one less lateral twisting of the neck), at the same time raising the backrest, in order to offset the negative effects on the grip of the steering of the necessary retract of the base of seat, thereby obviating also the fourth limit (the limitation in the mobility of arms).
Instead, inexplicably, the elderly do exactly the opposite, ie: they advance the base of seat to the steering and recline incredibly the backrest, thereby seriously compromising their chances of side vision and their turning radius.


5) why the great Chefs are almost all males?
The common experience leads to conclude, without fear of contradiction, that the kitchen has always been a place of almost exclusive prerogative of females.
Nevertheless...

6) why, on the shirts, the lowest central button is often placed above the belt line?

The logic would require that the lowest center button of a shirt is placed below the belt line, so as to prevent the opening of the shirt above the belt line and to show the underlying garment or, even, the belly. This would be an obvious and economically sustainable solution (a button in more would have no significant effect on production costs). Conversely, inexplicably, most of the shirts on the market has an array of buttons that presupposes the pants with a waist line well higher than those on the market.

7) why, in the shops, at the end of the season, inevitably they advance above all the shirts with the anterior breast pocket or with the buttons to the collar?
That is, if the result is systematically, for years, always and only this, why never the producers not increase their production of classic shirts and, correlatively, do not diminish their production of shirts with the anterior breast pocket or with the buttons to the collar?

Typical "ways of saying" in Bari.

The Apulian dialect of the area of Bari, despite being very rich of words, reflects a tendency toward expressive synthesis (a kind of aspiration to almost telepathic communication) which, inevitably, produces a remarkable series of paradoxical statements.

Aware of this his cryptic communication, the Apulian citizen poorly educated, when he communicates with an Italian who is not originally from Apulia or when he communicates with Apulian citizens educated more than him, tries to amend its dialectal language and tries to speak in Italian language but unconsciously retaining the syntactic logics of its dialect.

The result is often hilarious and, thereafter, I am going to offer a few examples:

1) "Ho tutte le mani di terra" ("I have all the hands of land") = Ho le mani interamente sporche di terra (I have my hands entirely dirty of ground).

2) "Attenzione al bambino, ancora cade!" ("Attention to the child, again falls!") = Che si faccia attenzione al bambino perché, pur non essendo già caduto, vi è l'alta probabilità di una sua imminente caduta! (That you pay attention to the child because, while not already he fallen, there is the high probability of its imminent fall!).

3) "Dalla faccia me ne sono andato" ("From the face I'm went") = ti ho riconosciuto dal volto (I recognized you from the face).

4) "Devo stendere la lavatrice" ("I have to hang the washing machine") = Devo porre ad asciugare il bucato appena lavato in lavatrice (I have to put to dry the laundry just washed in the washing machine).

5) "Accendi l'acqua!" ("Light the water!") = Accendi il gas sotto la pentola piena d'acqua! (Light on the gas under the pot full of water!).

6) "Devo fare i piatti" ("I have to do the dishes") = Devo lavare i piatti (I have to wash the dishes).

7) "Devo fare la polvere" ("I have to make the powder") = Devo spolverare (I have to dust).

8) "Vieni già mangiato!" ("Come already eaten!") = Vieni a casa mia con lo stomaco già pieno (Come to my house with your stomach already full).

9) "Levati la bocca" ("Take off the mouth") = Togliti dalla bocca quel cattivo sapore (Take off that bad taste out of the mouth).

10) "Buttaci un occhio!" ("Throw him an eye") = Dagli un'occhiata (Check it out).

11) "Dottore, mio figlio non mi mangia più!" ("Doctor, my son not eat me again!") = Dottore, mio figlio ha perduto l'appetito (Doctor, my son has lost his appetite).

12) "Dottore, i miei figli, a mangiare, ci vogliono le catene" ("Doctor, my childrens, to eat, it takes the chains") = Dottore, per far mangiare i miei figli debbo adoperare la costrizione (Doctor, to make eating my children I have to use coercion).

13) "Il bambino ha lasciato l'appetito: neanche il latte mi va dietro" ("The child left the appetite: not even milk goes behind me") = Il bambino ha perduto l'appetito: non vuol bere neanche il latte (The child has lost his appetite: does not want drink not even the milk).

14) "Lasci stare!" [Tipica espressione delle mamme con assai scarsa istruzione, quando ammoniscono i figli ad abbandonare un determinato oggetto od una determinata attività, ma, all'uopo, adoperando erroneamente il "Lei" in luogo del "Tu"] ("Leave her alone!") [Typical exclamation of the mothers with low education, when admonishing the children's to abandon a certain object or a certain activity but, for this purpose, using wrongly the "Her" instead of the "You"]) =  Abbandona quell'oggetto o quell'attività (Forget it that object or that activity!).

15) "Dottore, mi da qualcosa per il rovescio della nave?" ("Doctor, give me something for the backhand of the ship?") = Dottore, mi fornisce un farmaco che possa evitarmi di vomitare conseguentemente al mal di mare? (Doctor, provides me a drug that can avoid me to vomit consequently to seasickness?).

16) "Mia moglie mi ha messo l'appartamento in faccia a me" ("My wife have put me the apartment in the face to me") = Mia moglie mi ha intestato l'appartamento (My wife has transferred to me the ownership of the apartment).

17) "Vieni, che ti faccio la testa" ("Come, that I do it you the head") = Vieni, così ti pettino (Come, so I comb you).

18) "Dottore, il bambino, appena vedo che ha la febbre alta, ci do subito in testa" ("Doctor, the child, as soon as I see it has a high fever, I give him once in the head) = Dottore, appena vedo che mio figlio ha la febbre alta, adopero, immediatamente, rimedi drastici (Doctor, as soon as I see that my son has a high fever, I use, immediately, drastic remedies).

The distribution of the Apulian dialect of Bari (in the green area)