Showing posts with label 1940. Show all posts
Showing posts with label 1940. Show all posts

Thursday, July 19, 2018

Racism or erase-ism? The dilemma of Sunflower




It's been said about certain particularly pompous types of music (Wagner comes to mind) that "maybe it's better than it sounds." This statement puts me in mind of Disney's Fantasia.

Maybe it's worse than it seems. 




Disney was a farm boy at heart, and Fantasia was a country bumpkin's idea of high culture, a massive and lumbering delivery device for "good" music. Meaning, classical music, which you really should be exposing your children to, for their own good. Disney's choices were conservative:  Beethoven's Pastoral Symphony, Tchaikovsky's Nutcracker Suite, the Sorceror's Apprentice, Dance of the Hours, all things that leant themselves to the typical sentimental, florid Disney animation. And to throw in something really daring, Disney included a bit of Stravinsky to accompany T-rexes and stegosauri duking it out in a steamy primordial jungle.


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But that's not what we're talking about here.

We're talking about someone else.

We're talking about Sunflower.

There was a lot more to Fantasia than Mickey stemming the flood in The Sorcerer's Apprentice (the best-animated piece in the whole thing), dancing mushrooms, and alligators chasing after ostriches. There was this person. This - little horse, rather, and her name was Sunflower, featured briefly in the Pastoral Symphony's slow movement. 




We see a group  of pastel-colored horsettes, or should I say centaurettes, primping to meet their beefy centaur boyfriends. But they're not doing all the primping by themselves. To help them braid their manes and blow-dry their tails, they have. . . Sunflower.
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But, cute as she is, she's now a problem. Sunflower is clearly a servant, a little black girl trotting around obediently after all the glam horsettes. She's much smaller than the others, wears large gold hoop earrings, has stereotypical African features, and has her hair tied up in rags. In short, she's what people thought of in those days when you thought of a servant. Is she smaller because she's younger, a different kind of centaur, or what? It may have been a familiar visual device to convey relative status. This helped the audience orientate themselves, made it easier on them due to recognition of something they knew in the "real world".

She's something of a shock today, like seeing the godawful Steppin' Fetchit characters of the 1930s. By some Disney magic she was cut out of all prints of Fantasia when it was reissued for home video in the 1960s. Just - dropped, without an explanation, without a trace. This took some fancy dancing on the part of the animators, who had to try to keep the animation moving in synch with the music while the shears were applied. They used awkward closeups that left her out of the frame. The epitome of being marginalized! In one case, a red carpet eerily unrolled all by itself, because Sunflower was no longer there to unroll it.




Removing Sunflower was considered to be a "solution". She had been solved -or dissolved - by being erased, un-drawn, un-created. Undone. 

It was as if she had never existed at all. It seems, to me, a curious solution to a racist portrait, but that's what they did. Thus, they never had to take any responsibility for what they had already done. This was Papa Disney, after all, and he was clearly above all that.




If they hadn't erased Sunflower, there would no doubt have been an outcry. I understand the outcry, yes. But it confuses me. The whole thing does. If she had been a real live human being, it would have been more complicated - but maybe not by much. It was as if Sunflower were the shit-disturber, the joker in an otherwise conservative deck. So the trap door had to open. There was no other way.





Or - ?

Max Fleischer found another way, or at least his studio did, when it came time to release a DVD set of the complete Popeye cartoons (which I, of course, have). At the beginning of each DVD is a disclaimer stating that some of the cartoons feature characters and images which might be considered racist and offensive, but that these reflect the attitudes and prejudices of their time. And to censor or remove these images would be to pretend those attitudes never existed at all.

Brilliant.




But soft! What's this? A little later on in the Pastoral Symphony, we have the fat drunk guy on the donkey, Dionysus or whoever-the-hell-he-is. He's a silly character, rolling around, and meant to be. But who's that on either side of him? Look fast, because they are there for exactly ten seconds.

These are black servants, half-zebra instead of half-horse. They are quite glamorous, much taller than Dionysus - in fact, they tower over him - and their job is to fan him and keep his wine glass topped up. No matter how different they look from Sunflower, they are still servants, and they are black.

And they've been allowed to stay.




I've always found that weird. Is it the fact they're more adult, more exotic, taller, and less the little plantation girl than Sunflower? Are zebras more acceptable (half-white, after all) than horses or ponies? Is it the fact they're waiting on a man, instead of a bunch of pony-girls? I can't quite understand the thinking here. Or was it just too hard to animate them out or turn them into camels or something?

What's even stranger though is that Sunflower has a sunflower in her hair in some shots, and not in others - and this is in the same scene! It comes and goes, comes and goes at the whim of the animators. Did they know she was going to be cut out? No, she was there when the movie opened to great fanfare in 1940. (It was a flop. The public found such forced musical edification pompous and boring.) Nobody noticed it, I'd imagine, or thought much of the fact that there was a cute little Negro girl waiting on the ladies. It wouldn't have raised an eyebrow. It doesn't now, either, because it can't!  Sunflower has left the building.

Only this time, she's gone for good.


Saturday, July 30, 2016

Galloping into oblivion





The Tacoma Narrows Bridge Disaster

Puget Sound, near the city of Tacoma, Washington, USA

November 7, 1940


Background:

The original Tacoma Narrows Bridge was known as "Galloping Gertie" because of its rolling, undulating behavior. It had a length of 5,939 feet (1,980 metres approx) and was opened to traffic on July 1, 1940 linking Tacoma and Gig Harbor by road.




The bridge was an unusually light design, and, as engineers discovered, peculiarly sensitive to high winds. Rather than resist them, as most modern bridges do, the Tacoma Narrows tended to sway and vibrate. This progressively worsened due to harmonic phenomena.

Four months after the opening of this bridge, there was a 42-mile-per-hour (70+km/h) wind storm around the bridge area on November 7, 1940. The wind caused the bridge to sway violently from side to side, and it finally tore the bridge apart. This incident happened because of the structure of the bridge itself which caught the wind instead of let the wind pass through. The combined force of the winds and internal stress was too great for the bridge, and it self-destructed.





No one was killed, as the bridge had been closed because of previous swaying. This is one of the best-known and most closely studied engineering failures, thanks in large part to the film and photographs that were taken to record the collapse.





The Tacoma Narrows has to rate as my all-time-favorite bridge collapse. Certainly, none has been more spectacular. That sucker just snapped like a twig, went down like a pile of kindling. It's possible to find immensely long and boring web sites devoted strictly to the reasons why this happened. We won't go there, because I have ideas of my own. It's my blog, and I'll surmise if I want to.

The original design for a standard, four-square, virtually-indestructible bridge was just too expensive. America had not yet entered the war, but it was getting close, and things like steel and whatever-else-they-make-bridges-out-of were expensive as they rode out the end of the Depression. Then someone stepped forward (Moisseiff, I think his name was - anyway, his name was mud after this) who claimed to be able to build it at a fraction of the cost.

Bad idea.




It maddens me that this is never mentioned as a reason for the bridge's collapse. It's always some sort of fancy laws-of-physics thing that goes on for pages and pages. Often one web site contradicts another, humiliating the person who wrote the competing theory as an idiot and a know-nothing. All part of the fun of the bridge-building world, I guess. Or perhaps it's the mean-spiritedness of physicists everywhere. 

But this bridge was only 39 feet wide! By bridge standards, it was a skipping rope. While it was being built, the men working on it were laying bets as to how long it would last. Most said less than six months.

Those guys were right.

Even as they worked on it, the span heaved and bucked, a feature which made it extremely popular after it opened. People came from all over the country just to ride the rollercoaster, which had become known as Galloping Gertie. And still, in a profound state of denial, the city kept the thing open, perhaps realizing what a boon it was for touristry.




It was sheer dumb luck that no one was killed (except for poor Tubby, a black cocker spaniel trapped in a car).  A few people had to run for their lives however, and barely made it. So why did it collapse? This thing was put together with spit. They should have known better! Never mind torsion and flutter and resonant frequencies. This thing was a piece of shit! They built it on the cheap, and look what happened. Though I can't find the account, I remember reading that after the disaster there was a huge war of words in the newspaper about "whose fault it was". The designer of the bridge never lived it down, but the worst abuse was saved for an engineer who tried to warn everyone during the building of the bridge, insisting and insisting it would never hold. Why was he abused? Because he didn't stop it? Because he tried to stop it? I think it was because he embarrassed everyone by being right.




Something similar happened with Challenger. The guy who had sounded the warning about the O-rings was a pariah for the rest of his career. Everyone hated him for being right. The nerve of that guy! It was just a random accident, wasn't it? It couldn't be helped. So what if he was right! He should have either stopped the disaster or (better yet) kept his mouth shut. Either way, didn't he cause it just by thinking it was possible?

Post-notes. My favorite gif is the guy running for his life as the bridge literally collapses behind him. It's one of the more nightmarish things I've ever seen. Reminds me of something out of a Popeye cartoon, where Popeye gallops along as a flimsy bridge falls away behind his footsteps. The "newsreel" isn't really a newsreel, though I am not sure who put it together. The music on the soundtrack sounds as if it was salvaged from an old Western. As devastating as the collapse was, this guy attempts to whip us into a frenzy over it. He talks about people running for their lives when they're merely walking away. One wonders why they aren't just standing there gawking, but this was a different era; people didn't feel the need to capture everything on video (or anything, for that matter - no one had movie cameras except professionals, and who could take a still picture of this thing?). One account spoke of the sickening noise this thing made as it twisted back and forth, grinding and screeching. If you've ever taken a wire and bent it back and forth a lot of times, first it gets hot, then it breaks in two. To me, that encompasses all the physics I can handle in one day.

An excerpt from Catastrophe to Triumph: Bridges of the Tacoma Narrows by Richard  S. Hobbs (who also composed an identical web site meant for student use, so I can quote whatever I like, see).




By 11:00 a.m. the extreme twisting waves of the roadway, magnified by the aerodynamic effect of wind on the sides of the bridge, began to rip the span. Huge chunks of concrete broke off "like popcorn" (in the words of one witness) and fell into the chilly waters far below. Massive steel girders twisted like rubber. Bolts sheered and flew into the wind. Six light poles on the east end broke off like matchsticks. Steel suspender cables snapped with a sound like gun shots, flying into the air "like fishing lines," as Farquharson said.

The strange sounds of the bridge's writhing filled the air. When the tie-down cables failed, the side spans began to work the main cables back and forth. The movement shifted the steel covers where the cables entered the anchorage, producing a metallic shrieking wail. By now, several hundred bystanders stood on the eastern shore of the Narrows. From the bluff, a workman on a pile driver repeatedly tooted his whistle to try to warn the approaching Coast Guard cutter, Atlanta, which passed under the bridge. The shrill whistle blasts mixed with the howl of gusting winds and the grinding and screeching of metal and concrete. The wild noises gave onlookers a sense of dread and impending calamity.




At 11:02, a 600-foot long section of roadway in the eastern half of the center span (the "Gig Harbor quarter point") of the heaving bridge broke free. With a thunderous roar, the massive section wrenched from its cables in a cloud of concrete dust, flipped over, and plummeted 195 feet into Puget Sound. A mighty geyser of foam and spray shot upward over 100 feet. Great sparks from shorting electric wires flew into the air.

Farquharson ran from the East Tower toward the Toll Plaza, covering the 1,100 feet of the side span length as fast as his legs could carry him. He followed the centerline, where he knew there was least motion. Twice, the roadway dropped 60 feet, faster than gravity, then bounced upward, finally settling into a 30-foot deep sag. Just in front of him Howard Clifford ran, fell, and scrambled up the roadway.

Successive deck sections rapidly fell out toward each tower.Coatsworth's car and Tubby followed the plunging roadway into the wind-swept Narrows.

By 11:10 a.m. it was over. The cold waters churned, eddied, and swirled. The heart of Galloping Gertie sank beneath whitecaps, coming to rest on the bottom of Puget Sound.

By this time, hundreds of cars bumper-to-bumper were driving to the bridge, making their way west on 6th Avenue from Tacoma and clogging side streets.

The most spectacular failure in bridge engineering history was over. The world's third largest suspension bridge, the latest and most advanced in its sleek design, was a twisted tangle of steel and broken concrete.

 




And this, which I'd call "why didn't they close the sucker before it opened?":

Even in a light breeze, the Narrows Bridge moved. Suspension bridges are supposed to move. But, this was different.

The roadway sometimes "bounced" or "rippled" in a wind of 3 or 4 miles per hour. Often, several waves of 2 to 3 feet (and on a few occasions up to 5 feet) would move from one end of the center span the other. There seemed to be no correlation between the wind speed and the size of the waves. Sometimes the span would "bounce" for a few moments then stop. Other times, the waves lasted for 6 or even 8 hours.




Thrill-seekers drove to the Narrows from miles around when the ripples started. Some motorists became "seasick" and avoided using the bridge. But, for adventurous spirits the bridge became an amusement ride. Drivers crossing the span at times saw a car in front of them suddenly disappear into the trough of a wave. Moments later it reappeared as the roadway rose. According to one report, a couple of times drivers experienced waves 10 feet high.

What was that motion? In the first weeks after the bridge opened, the newspapers referred to its movement as "the bounce" or "the ripple." Here are other terms used to describe the movement, used by a variety of locals, engineers, and other observers:
gallop
wave
undulation
up and down
crests and troughs
peaks and valleys
rising and falling
like a roller coaster
vertical oscillation
vertical flexibility

How did she get her name? Only later, in the autumn of 1940 about the time of the collapse, did the nickname "Galloping Gertie" make it into the newspapers.




I am never linear, don't know how to be, so things leap into my head after the fact. This jumped into my head when I thought of the sea-serpentine heaves of the Tacoma bridge. Ribbon candy. It was disgusting stuff, but we had to pretend to like it, or at least tolerate it. We went to the Kiwanis Club Christmas party every year, we had no choice in the matter, and had an insipid turkey dinner (identical round grey slices of processed turkey with grey mush underneath them, purported to be dressing) which always began with a little glass dish of fruit cocktail. Then there would be a magician, a very bad one. Then - Christmas carols? I think not. THEN, finally, what we had come for: Santa. I don't think we had to sit on his knee - and really, can you think of anything worse for a small child than sitting on the knee of a complete stranger, not just any stranger but an old man who looks like a goon with a huge beard and a frightening booming way of talking? Or that muttering whiskery "tell me what you'd like, little girl" way of talking, which is even worse. Anyway, for enduring Santa without a shrieking fit we'd get a Christmas stocking that was made out of some kind  of netting, like the type you buy for your dog. In it were a few things, candy canes for sure, but I also remember a bag of nuts in the shell (nuts were always in the shell back then - shelled nuts were considered obscene). And pink or white almonds encased in a sort of creamy candy, "sugared almonds" they were called. And - hard candy, a big cellophane bag of hard candy which I hated. Humbugs. Square brown things all indented, like pillows with buttons in them. And the dreaded "horehound" (hound from hell!). And worst of all, ribbon candy.






Ribbon candy looked like - to me, it looked like a train wreck. It looked like the Loch Ness Monster. It looked like Cecil the Seasick Sea Serpent.  It looked like the Tacoma Narrows Bridge before it collapsed, when it was "sound" and merely heaved up and down to a height/depth of ten feet! Did anyone eat this stuff? I tried to eat it. The ribbon candy was either pepperminty (I never liked peppermint candy and nearly fell over the first time I tasted a cinnamon candy cane), or horehoundy, that awful medicinal taste, worse than cough drops (which I sort of liked but which gave you a sore throat if you ate too many). The only thing I can compare it to is Pepsin Life Savers, which I don't think are made any more. Pepsin comes out of the stomach of a cow or something, and tastes like it. It has a sort of cigar ash/cemetary/Grandma's-old-trunk-that-used-to-store-dead-bodies taste.

So why all these tales from the crypt? I don't know, I'm tired, it's sort of late and things seem a bit pointless right now.




Ribbon candy. Do NOT DIY.

Applications (from Wikipedia)

Commercial pepsin is extracted from the glandular layer of hog stomachs. It is a component of rennet used to curdle milk during the manufacture of cheese. Pepsin is used for a variety of applications in food manufacturing: to modify and provide whipping qualities to soy protein and gelatin, to modify vegetable proteins for use in nondairy snack items, to make precooked cereals into instant hot cereals,and to prepare animal and vegetable protein hydrolysates for use in flavoring foods and beverages. It is used in the leather industry to remove hair and residual tissue from hides and in the recovery of silver from discarded photographic films by digesting the gelatin layer that holds the silver. Pepsin was historically an additive of Beemans gum brand chewing gum by Dr. Edward E. Beeman. It also gave name to Pepsi-Cola, originally formulated with pepsin and kola nuts.

Friday, April 1, 2016

First there is a flower, then there is no flower, then there is




Disney's Fantasia is one of those highbrow thingammies that you're supposed to appreciate because it's Culture.

It's high culture that is Good For You, like some kind of medicine you have to swallow for your own elevation. 

It was meant to give children a clinical dose of classical music with all sorts of fun cartoons to watch while they suffered through it. They got Beethoven. They got Tchaikovsky. They got Moussorg-whatever-his-name-was, the big guy on the mountain. 

I don't think a child ever liked Fantasia, and certainly no child ever loved it. Most adults were likely kind of bored with it too, but trundled the family off to see it anyway as a sort of educational duty.

Fantasia bores ME to death, and I have never even seen it. I fell in the generational cracks between the movie's release in 1940, and the tepid bits that appeared on TV on Walt Disney's Wonderful World of Color (which, of course, we watched in black and white). I don't think I saw more than five minutes of it at a time.

But speaking of black and white!





I never knew there was anything disturbing in Fantasia except its length, its pomposity, and those dinosaurs killing each other to Stravinsky's Rite of Spring. Now I know. There was a little black girl in there who was excised. I mean, cut out. Cut RIGHT out. Cut out because her very presence was seen to be offensive.

She was offensive sort of the way Mammy in Gone With the Wind is now seen as offensive, and yes, I sort of get it. Personally I love Mammy in Gone With the Wind because she is the glue holding the whole thing together, and her character, though limited by the strictures of the servant role, is powerful and nuanced. All Scarlett does is run around looking gorgeous.

But that aside: there was, in Fantasia, in the Beethoven's Pastoral Symphony section with all the centaurs and cherubs and Dionysian types capering around, a small character named Sunflower. Sunflower existed, then she didn't. She made one appearance on TV which I don't remember (for surely Fantasia was never shown in its entirety on TV). But when the movie was theatrically re-released in the late 1960s, all trace of Sunflower had been removed.

Excised.

It was as if the little black centaurette had never existed.









This is a solution, is it not? Getting rid of something that is a problem. But it has disturbing echoes of The Final Solution, in that it says "hey, listen, folks, WE never displayed racist attitudes in our cartoons!" Nobody here but us white folks.

Here is an analysis of the whole mess from a film site (so I don't have to explain it any further - I'm lazy today):

Was it wrong for Disney to censor Fantasia to remove the character Sunflower?
One of the most controversial aspects of Disney's Fantasia is the censorship of the character Sunflower from the Pastoral Symphony segment of the film.

Sunflower is a centaurette (female centaur) who is depicted as being a hybrid of a young black girl and a donkey. She is shown performing duties as a servant to the other centaurettes who are depicted in a wide variety of pastel colors.

Beginning in the 1960s, Sunflower was deemed a racist and negative depiction of black people, and her scenes in the film were deleted. Beginning in 1990, the scenes were restored, but the shots she was in were cropped so that she could not be seen.





There is much debate over whether she should've been removed from the film. There are those who say that she should be censored in order to move away from the attitude of depicting black people as negative stereotypes. Others say that she shouldn't be censored because such portrayals were very common in animated films of the time, and that removing them is the same as saying that they never existed in the first place. Some believe that there should be a middle ground; in other words, for example, the late film critic Roger Ebert felt that the original should be preserved for historical purposes, but that the censored version should be the one made available for mainstream consumers, in particular children.




                          atomicfireball.deviantart.com


Also of note: There are other black characters in the segment. There are two identical unnamed centaurettes who are part young black women and part zebra and another young black girl centaurette named Otika who in the original rolls out a red carpet; in all versions currently available, Otika is digitally removed so that the red carpet appears to unroll by itself, and the zebra centaurettes have never been altered or removed from the film.

(Note. I don't remember seeing those zebra-ettes before, but did I look? I see them now, and they're gorgeous, though I still notice echoes of servitude in their actions because they're waiting on that fat drunk guy.) 

Hattie McDaniel liked to say "I'd rather play a maid and be paid $100.00 than BE a maid and be paid $2.00." Or words to that effect. She had the right attitude: if you're restricted to roles that reflect the racist stereotypes of the times, then play the hell out of those roles, transcend the stereotypes and win an Oscar. 

But you can't do that if somebody just took an eraser to you and made you disappear.




We never let Sunflower have a chance.  She was cute, but a little disturbing, like Buckwheat in The Little Rascals. The thing is, The Little Rascals was ahead of its time: it depicted white and black kids all rolling around in the dust together, which no one else was doing. And Stymie, the solemn one with the bowler hat, was just the coolest character ever - I liked him way better than any of the white kids.

I find it interesting, though. First there is a Sunflower. Then there is no Sunflower. Then there is. Hello, folks. I'm back. I have my existence again, and I am here to tell you that THIS is the way it was in the 1940s, back when people were frankly racist and didn't try to dissemble. If you're not happy about it, you can try to get rid of me, but somehow or other, who knows when, I'll be back to haunt your conscience/consciousness again.


POST-BLOG I-DIDN'T-SEE-THAT-BEFORE: Of course, if the animators were kind of uncertain about Sunflower's presence, it's likely they would start making errors, or at least be inconsistent about her appearance. If you watch the tiny clips which I giffed (since they were only a few seconds long in total), you'll note that there's a sunflower in her hair in SOME scenes, but by no means all. Sometimes it's just not there, only those little rags her hair is tied up in (and not even those, in some places). These scenes weren't meant to take place on different days or even different hours or minutes. So what happens to the sunflower? Why can't the animators get it together on how her hair is supposed to look? They wouldn't do that to Snow White, would they? 










APOLOGIA. For my habit of not always giving credit for certain kinds of artwork, I'm making amends here and now. 

deviantart.com is a fantastic site. I'm envious every time I look at it, because I can't make representative art to save my mortal soul. I might as well use a sharp stick and a little pile of dog shit, for all the results I get. But these Deviant Artists are superb, soaring in their talent and imagination. They display their art in a kind of vast internet gallery that gives the public a chance to admire and enjoy it, but in no way, shape or form can I claim it as mine.

So I've posted links to their pages on each of these superbilicious renderings of Sunflower, a Disney character reimagined not as a subservient, minority, or erased character, but as a gorgeous and powerful exotic her own right, a mythic creature whose beauty puts those pastel pink-and-blue horsettes to shame.

Addenda to the addenda . Though I love those gorgeous uncredited zebra centaurettes in Fantasia, I'm not keen on the fat, lolling, drunken Dionysus figure that goes with them. So here are a nice couple of crops.














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Thursday, August 12, 2010

A bridge made of tacos

Gather 'round, all ye children, and listen to my tale. Collapsing bridge stories have always intrigued me. Here you have structures that are carefully designed and built, gazillions of dollars spent. Only in rare cases do the builders cut corners. But wait 'til you hear about this one.


I became fascinated with the Tacoma Narrows Bridge, a.k.a. Galloping Gertie, about ten years ago. I did all sorts of research on the net, then forgot all about it and deleted all my links. Enough of that, I said, and went on to something else.


I don't know what brought it back. Looking for something to blog about besides my limp, depressed, tail-end-of-summer mood, maybe. Rather than go back over all that shit from ten years ago, I'm a-gonna tell you all about MY version of Galloping Gertie.
This was the late '30s, and nobody had any money because World War II hadn't properly started yet. At this point, Hitler looked like a swell guy who was just getting rid of the riff-raff.

But the folks in Tacoma, Washington needed a new bridge. The proposed model, a nice conservative squatty indestructible thing, looked like a safe deal. Then someone else stepped up to the plate: Elmer Fartsworthy (not his real name: I'm protecting his estate), who had this sleek new design for a modern bridge, an elegant bridge, a Bridge of the Future.

This thing used about half the materials of the other one, a real advantage during the Depression. It was something like 12 feet wide - OK, I exaggerate. Maybe 13. A long, thin ribbon of a bridge that Fartsworthy assured everyone would do the job, and look modern and bragworthy in the bargain: great for civic pride, the envy of two-bit towns everywhere.

Since Mr. F. had a hand in designing San Francisco's Golden Gate Bridge, everyone felt very enthusiastic. They were even more enthusiastic when F. said he could build his structure for $6 million, not the $11 million of the original. This six million dollar bridge was looking better all the time.

A funny thing, though - as they built it, the workers kept saying, "Hey. Is that supposed to happen?" The bridge kept swaying, even before it was completed. It kind of went side to side. The architect assured them this was only a standard lateral flexo-torsion with a side of fries, so they kept on with it. But the workers were so nauseated from motion sickness, they had to suck lemons to keep from throwing up.

When it opened with great fanfare in 1940, the thing was heaving up and down like a seasick sea serpent, but people soon flocked to Tacoma to take the wild ride. Galloping Gertie was so unstable that the car in front of you would literally sink and disappear. Never mind, said the designers and engineers. It would hold. This was just a normal variation of the flexor chattahoozus. The beast had more torque than any goddamn Golden Gate pussy bridge. It might whip back and forth like a double-Dutch skipping rope, but this only made the drive more interesting.

Until.

Until, one day, only a couple of months later, the wind began to blow.

There was no traffic on the bridge that morning. Just a car with a dog in it, mysteriously parked. The dog's name was Tubby. You have to know this, because it's the most important part of the story.

The bridge began to, well, not sway exactly, but flap back and forth like a bleeping pancake. It was heaving 30 feet in the air, first on one side, then the other, with a bizarre still point in the middle.

All over the world, architects and engineers had the same nightmare.

Violently it flew up and down, pitching and bucking. The guy who owned the car/dog actually walked down the middle of this thing, trusting soul, but his terrified dog practically bit his hand off. There is archival footage of him running his ass off to get away.

The seasick sea serpent continued to heave up and down in the most nauseous fashion, making a hideous shrieking sound that made bystanders plug their ears. At one point it looked like it might stop, but another gust of wind got it going even more violently.

Finally, the inevitable: one rivet flew out. Then a strip of metal sheared off. Then another. Wires snapped like spaghetti. With a deafening roar, the entire middle section of the bridge crumbled into the water like an overdone piece of toast. A moment later, another span groaned and gave way.

The thing just snapped like a bundle of twigs. I wonder what the designer was feeling, watching all this: how could this happen? Where did I go wrong? How soon can I get out of town?


Tubby didn't make it, but he was the only casuality. If this had happened at rush hour, who knows what the death toll would have been.

Supposedly, the disaster (still being dissected by engineers 70 years later, though not the same ones - maybe their great-grandchildren) would have happened even without the bargain basement price of the thing. Some said the bridge would not allow wind to pass through the sides, pushing it around like somebody blowing on one of them pinwheel things. Others said it was sexually aroused by a first cousin of the Loch Ness Monster which had taken up residence in Puget Sound, and was shimmying in a kind of frantic mating dance.

Others said it was just an atypical aeroflexomotor screw-up, with shi-fa-fa on the side. There followed a storm of accusations and counter-accusations, denial of all wrongdoing, exposure of corruption, and all that sort of thing.


An inspector who had been hired to make a safety assessment of the bridge before it opened had issued a severe warning that it would inevitably fail, but because the bridge was more popular than Seabiscuit, City Hall opened it anyway. After the failure, this same guy immediately had his ass fired for embarrassing everyone. No good deed goes unpunished.

I like this story. I like weird, atypical things happening, and mighty structures collapsing. I like the fact that there's lots of video (someone had the presence of mind to grab a camera and get some very tasty shots). Maybe it's my sense of anarchy.

But I do feel bad about the dog.