Rabanos Radiactivos 136

Dept. of 4th-Hand Information: Mike Barrier, a Comics Fan from Arkansas, notes a clipping from VARIETY to the effect that Ray Bradbury and Chuck Jones are collaborating on a TV special. Jones is the animator who created the ever-popular "Beep-Beep, the Road Runner" cartoons for Warner Bros., and who produced the TV special of Dr. Seuss' "How the Grinch Stole Christmas" last year; what on or off Earth could he be turning out with Ray Bradbury? ## Barrier also has a long column of information on what the Disney studio will be doing in the next few years, or what it won't be doing and why it won't be doing it. This year's feature-length cartoon, of Kipling's "The Jungle Book", will be followed in 1970 by one called "The Aristo-Cats". Disney's feature-length cartoons are usually based on well-known children's books or legends, but I don't recognize this title at all; is anyone else familiar with it?

Speaking of films, let's discuss them in connection with the Pan-PacifiCon. I'm not talking about any special premiers we might get for the main program, as the TriCon got the pilots to "Star Trek" & "Time Tunnel" and the special showing of "Fantastic Voyage", but a Film Room, a separate permanent attraction like the Art Show and the hucksters' room. The TriCon had a Film Room open most of the evenings of the Con; anybody who didn't want to sleep or couldn't find a party could sit up all night watching "Leopard Girl of the Jungle", or whatever that horrible serial was called.

It used to be a standard program item of any convention to include a motion picture. A new one, if one could be gotten -- special premieres of "Destination Moon" and "The Day the Earth Stood Still" were held at WorldCons, I believe -- but another old showing of "Metropolis" or "Things To Come" if one couldn't. Instead of continuing this tradition, should we keep open a Film Room running most evenings, to show these for those who want to see them, as something separate from the regular program? Should we try (depending on how much we can afford) to keep the Room open all the time, so that anybody not interested in the program will always have someplace to go? Should we spend money on the old-timers everyone has seen, like the "Flash Gordon" serials or "Things To Come", or should we concentrate on trying to get rarer films, such as Cocteau's "Orpheus"? What films would you like to see? The Committee hasn't gotten around to discussing this yet in detail -- the result will depend on too many things still unknown now, such as what kind of program we have, how much we'll have to spend on films, etc. -- but we'd like your opinions on the basic concept of a Film Room at a WorldCon. Will it be a valuable extra attraction for the fans? Will it waste money or conflict unfavorably with the program? What do you think?

Zanahorias Electronicas

Jim Schumacher -- The more use I see of this mimeo-ditto combination, the better I like it. Your heading isn't much artistically, but is very pleasing esthetically. ## I hope you like living in the middle of the L.A. fan social center. I'm for a greater fan centralization, and I'm sorry that mundane considerations make it necessary for me to run counter to my own feelings. Good luck on finding a bigger & better slanshack -- something like the Booby Hatch, maybe, but not so decrepit and more cheery. ## Would lowering the copy requirement get more contributors? I don't see how. I can't think of anyone who's not active in Apa L who would become active if we only required 25 or 30 copies. A lower copy requirement might encourage more junk inclusions, but we don't want them. Personally, I'd tend to lose interest in Apa L if I knew that I was always going to the trouble of publishing RR for only 25 or so people (this is why I'm always on the verge of dropping out of the Cult, which only has a full membership of 13, and a total including waiting list applicants of around 25). Consider: if all or most of our current 40 copies are being taken, that means that Apa L has a readership of 40 (or more, since some people share copies or let others read theirs). If we cut back to 25, we've lost 37.5%! I can't see any gains that would offset our numerical losses. If a cut would make Apa L more tightly-knit, promote more group spirit, encourage the remaining contributors to produce more & better material, and attract more new contributors, then I'd say that a cut would be a good idea. But I don't think that a cut would accomplish any of these things. Anybody who goes to the trouble of typing a stencil or master in the first place isn't going to quibble over an extra ten sheets of paper, or the time spent in turning the mimeo or ditto handle ten or twenty more times.

Bĵo Trimble -- I find that I have no trouble (or very little trouble, anyway) in figuring out English money, even if I don't have a proper £ key on my typewriter. This is mostly because I've been buying English books by mail for the last couple of years (as most of LASFS knows), and I've become accustomed to the British currency system enough so that I can translate a British price like 9/6 into American money almost instantly. On the other hand, I've almost completely forgotten the English/American system of weights & measures that I learned in school so long ago, because I've almost never had any occasion to put any of this knowledge to use. Is it 2 pints to a quart and 4 quarts to a gallon, or the other way around? I remember 16 ounces to a pound, and 12 inches to a foot and 3 feet to a yard, but that's about all. I vaguely recall that there's supposed to be some difference between "dry" weight and "wet" weight, but I haven't the slightest idea of what it is. If you asked me a question like "500 yards are what % of a mile?", I'd need at least five minutes with a pencil & paper to figure it out, and then I'd probably get the answer wrong. I guess it all depends on what you're used to using. I wish I had your £ key on my typewriter. ## Yes, of all the characters that do wander through the Oz books, there are relatively few that really come alive as individuals. Both the Scarecrow and the Cowardly Lion certainly do, though. Also the Wizard. There are some characters that tend to blend with others in my mind, though: Prof. Woggle-Bug and Jack Pumpkinhead; Dorothy and Ozma, or Ozma and Glinda, Toto/Billina/the Sawhorse. Perhaps I should rather say that they do stand out as individual characters, but not as individual personalities.

Jim Schumacher again -- Another reason that the Pan-PacifiCon Committee is sponsoring the Oakland WesterCon bid is that, if Oakland still bids for the '68 WorldCon anyway, we hope to pick up a few votes from neutral fans who'd rather have two conventions in '68 to go to, than see them both combined into one if Alva should win both bids. If LV gets the WesterCon, this "neutral" vote could go to either us or Oakland for the 2nd Con, and Oakland would also get the united support of Bay Area fandom and everyone else who'd feel that Southern California's gotten just one too many Cons in a row; if Oakland gets the WesterCon, we'll get all the 2nd Con vote, and avoid bitter feelings with a "robbed" Bay Area. We'd be stupid to play it any other way.

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