♪ ♪ WIPING YOUR MOUTH IS SO MUNDANE WIPING YOUR MOUTH IS SO MUNDANE BUT TO INVENT A SELF OPERATING BUT TO INVENT A SELF OPERATING NAPKIN, THAT IS BY FAR MORE NAPKIN, THAT IS BY FAR MORE INTERESTING IN THE MINDS EYE OF INTERESTING IN THE MINDS EYE OF RUBE GOLDBERG.

RUBE GOLDBERG.

THIS IS JUST ONE OF MANY THIS IS JUST ONE OF MANY ILLUSTRATED CONTRAPTIONS KNOWN ILLUSTRATED CONTRAPTIONS KNOWN AS A RUBE GOLDBERG MACHINE WE AS A RUBE GOLDBERG MACHINE WE CELEBRATE ARTIST CARTOONIST CELEBRATE ARTIST CARTOONIST INVENTION SAT TIRE AND LASTING INVENTION SAT TIRE AND LASTING CULTURAL IMPACT THIS IS RUBE CULTURAL IMPACT THIS IS RUBE GOLDBERG A LOT OF MOVING PIECES GOLDBERG A LOT OF MOVING PIECES ON NEWS MAKERS.

ON NEWS MAKERS.

♪ ♪ GROWING UP I HAD THE TERM THAT GROWING UP I HAD THE TERM THAT IS A RUBE GOLDBERG WHICH SIMPLY IS A RUBE GOLDBERG WHICH SIMPLY MEANS YOU TOOK THE LONG WAY MEANS YOU TOOK THE LONG WAY AROUND TO SOLVE THE PROBLEM AND AROUND TO SOLVE THE PROBLEM AND WHICH MAY OR MAY NOT HAVE BEEN WHICH MAY OR MAY NOT HAVE BEEN SOLVED.

SOLVED.

BUT DOING AND DOING SO THAT BUT DOING AND DOING SO THAT PROCESS WAS ALWAYS A HUMOROUS PROCESS WAS ALWAYS A HUMOROUS ONE.

ONE.

I THINK HE IS ONE OF THE FEW IF I THINK HE IS ONE OF THE FEW IF NOT THE ONLY AMERICAN THAT IS NOT THE ONLY AMERICAN THAT IS NAMED THE ADJECTIVE.

NAMED THE ADJECTIVE.

>> Reporter: FOUND IN THE >> Reporter: FOUND IN THE MIRIAM WEBSTER DICTIONARY HE IS MIRIAM WEBSTER DICTIONARY HE IS DEFINED AS ACCOMPLISHING BY DEFINED AS ACCOMPLISHING BY COMPLEX MEANS WHAT SEEMINGLY COMPLEX MEANS WHAT SEEMINGLY COULD BE DONE SIMPLY THE TERMS COULD BE DONE SIMPLY THE TERMS FIRST KNOWN USE WAS IN 1928, AT FIRST KNOWN USE WAS IN 1928, AT THIS STAGE IN HIS CAREER THIS STAGE IN HIS CAREER GOLDBERG WAS A 45-YEAR-OLD GOLDBERG WAS A 45-YEAR-OLD CELEBRITY.

CELEBRITY.

WELL FOLKS THERE SHE IS THE RUBE WELL FOLKS THERE SHE IS THE RUBE GOLDBERG DOOR OPENER.

GOLDBERG DOOR OPENER.

SURE SURE I KNOW THEY HAVE A SURE SURE I KNOW THEY HAVE A GADGET CALLED AN ELECTRIC EYE GADGET CALLED AN ELECTRIC EYE THAT DOES PRACTICALLY THE SAME THAT DOES PRACTICALLY THE SAME THING BUT THAT'S NO GOOD FOR A THING BUT THAT'S NO GOOD FOR A WAITER.

WAITER.

YOU SEE THE ELECTRICITY MIGHT YOU SEE THE ELECTRICITY MIGHT GIVE THE WAITER A SHOCK THEN HE GIVE THE WAITER A SHOCK THEN HE WOULD FORGET TO COME BACK TO WOULD FORGET TO COME BACK TO PICK UP HIS TIP AND HE WOULD PICK UP HIS TIP AND HE WOULD LOSE HIS PROFESSIONAL STANDING.

LOSE HIS PROFESSIONAL STANDING.

HOW DOES THIS DOOR OPENER REALLY HOW DOES THIS DOOR OPENER REALLY WORK?

WORK?

IT'S VERY SIMPLE.

IT'S VERY SIMPLE.

BUT WATCH CLOSE NOW HERE IS WHAT BUT WATCH CLOSE NOW HERE IS WHAT HAPPENS.

HAPPENS.

YOU SEE WAITER.

YOU SEE WAITER.

>> THE RUBE GOLDBERG MACHINE >> THE RUBE GOLDBERG MACHINE THAT PEOPLE CAN ASSOCIATE WITH THAT PEOPLE CAN ASSOCIATE WITH AND WHY WAS IT SO EMBRACED IN AND WHY WAS IT SO EMBRACED IN SORT OF THE MALE CHARACTER.

SORT OF THE MALE CHARACTER.

I DESIRE TO TINKER AND DESIRE TO I DESIRE TO TINKER AND DESIRE TO DO SOMETHING AND MAYBE A CLICHE DO SOMETHING AND MAYBE A CLICHE FOR THE AMERICAN IDEA THAT WE FOR THE AMERICAN IDEA THAT WE CAN DO IT.

CAN DO IT.

WE DON'T NEED ANYONE'S HELP WE WE DON'T NEED ANYONE'S HELP WE CAN FIGURE IT OUT.

CAN FIGURE IT OUT.

AGAIN TIMING IS EVERYTHING, SO AGAIN TIMING IS EVERYTHING, SO THIS IS A TIME WHERE AMERICAN THIS IS A TIME WHERE AMERICAN INDUSTRY IS EXPANDING, INDUSTRY IS EXPANDING, IMMIGRATION IS EXPANDING, THERE IMMIGRATION IS EXPANDING, THERE IS GREATER DIVERSITY, THERE IS IS GREATER DIVERSITY, THERE IS ALL SORTS OF DIFFERENT ALL SORTS OF DIFFERENT INFLUENCES THAT ARE COMING IN INFLUENCES THAT ARE COMING IN AND MAKING IT AN INTERESTING AND AND MAKING IT AN INTERESTING AND DIVERSE PLACE BUT THERE IS THE DIVERSE PLACE BUT THERE IS THE BELIEF IF YOU CAN DO IT, IF YOU BELIEF IF YOU CAN DO IT, IF YOU WORK HARD ENOUGH YOU CAN MAKE WORK HARD ENOUGH YOU CAN MAKE SOMETHING, YOU CAN DO SOMETHING SOMETHING, YOU CAN DO SOMETHING SO I THINK THAT AMERICAN SO I THINK THAT AMERICAN INGINUITY CONCEPTS AND I WASN'T INGINUITY CONCEPTS AND I WASN'T ALIVE BACK THEN SO I DON'T ALIVE BACK THEN SO I DON'T REALLY KNOW BUT THAT IS WHAT I REALLY KNOW BUT THAT IS WHAT I ASSUME AND THERE IS SOMETHING ASSUME AND THERE IS SOMETHING ABOUT HUMOR AND THE ABOUT HUMOR AND THE RIDICULOUSNESS OF IT AND EVEN RIDICULOUSNESS OF IT AND EVEN SOME OF THOSE CONTRAPTIONS TODAY SOME OF THOSE CONTRAPTIONS TODAY SOME OF THE EARLIER ONES ARE A SOME OF THE EARLIER ONES ARE A LITTLE BIT LOST BECAUSE WE DON'T LITTLE BIT LOST BECAUSE WE DON'T HAVE SOME OF THE TOOLS ANYMORE.

HAVE SOME OF THE TOOLS ANYMORE.

AND THEY HAVE BECOME KIND OF AND THEY HAVE BECOME KIND OF ARCHAIC.

ARCHAIC.

>> WHICH IGNITES FUELS AND SETS >> WHICH IGNITES FUELS AND SETS OFF BOMB G OPENING DOOR H VERY OFF BOMB G OPENING DOOR H VERY GENTLY.

GENTLY.

WELL FOLKS THERE ARE NOT TWO WELL FOLKS THERE ARE NOT TWO AMONG YOU WHO THINK MY AMONG YOU WHO THINK MY INVENTIONS ARE A BIT AHEAD OF INVENTIONS ARE A BIT AHEAD OF THEIR TIME AND A SHADE FANTASTIC THEIR TIME AND A SHADE FANTASTIC AND ALL RIGHT GO ON AND SAY IT AND ALL RIGHT GO ON AND SAY IT DOWN RIGHT SCREWY.

DOWN RIGHT SCREWY.

>> Reporter: AMERICAN'S >> Reporter: AMERICAN'S FASCINATION WITH MACHINE ANSWER FASCINATION WITH MACHINE ANSWER GOLDBERG CONTRAPTIONS SEEK INTO GOLDBERG CONTRAPTIONS SEEK INTO POPULAR CULTURE COMEDIAN CHARLIE POPULAR CULTURE COMEDIAN CHARLIE CHAPLIN EMBRACES A CONTEMPORARY CHAPLIN EMBRACES A CONTEMPORARY SOCIETY IN THE 1936 CLASSIC SOCIETY IN THE 1936 CLASSIC MODERN TIMES.

MODERN TIMES.

♪ ♪ RUBIN GOLDBERG WAS BORN JULY 4, RUBIN GOLDBERG WAS BORN JULY 4, 1883 TO GERMAN JEWISH IMMIGRANTS 1883 TO GERMAN JEWISH IMMIGRANTS MAX AND HANNAH GOLDBERG, HE WAS MAX AND HANNAH GOLDBERG, HE WAS THE SECOND OF FOUR CHILDREN, A THE SECOND OF FOUR CHILDREN, A CREATIVE CHILD WITH A PASSION CREATIVE CHILD WITH A PASSION FOR DRAWING.

FOR DRAWING.

>> HIS BEGINNINGS START WHERE?

>> HIS BEGINNINGS START WHERE?

>> IN SAN FRANCISCO, HIS FATHER >> IN SAN FRANCISCO, HIS FATHER WAS THE SHERIFF OF SAN FRANCISCO WAS THE SHERIFF OF SAN FRANCISCO AND SEEMS HE WAS ALWAYS DRAWING AND SEEMS HE WAS ALWAYS DRAWING AND SORT OF WENT TO BERKELEY AND SORT OF WENT TO BERKELEY UNIVERSITY OF CALIFORNIA UNIVERSITY OF CALIFORNIA BERKELEY, GOT HIS DEGREE IN BERKELEY, GOT HIS DEGREE IN ENGINEERING, MINING, ENGINEERING ENGINEERING, MINING, ENGINEERING BUT ALWAYS HAD A LOVE FOR ART, BUT ALWAYS HAD A LOVE FOR ART, FOR DRAWING AND HIS FATHER LIKE FOR DRAWING AND HIS FATHER LIKE MANY FAMILIES AND MYSELF AN MANY FAMILIES AND MYSELF AN ARTIST SO I KNOW THAT'S NOT THE ARTIST SO I KNOW THAT'S NOT THE CAREER NECESSARILY PARENTS WANT CAREER NECESSARILY PARENTS WANT YOU TO GO INTO MAINLY BECAUSE YOU TO GO INTO MAINLY BECAUSE IT'S VERY HARD TO SUSTAIN.

IT'S VERY HARD TO SUSTAIN.

HE WORKED FOR ABOUT SIX MONTHS HE WORKED FOR ABOUT SIX MONTHS WITH THE SEWER COMPANY IN SAN WITH THE SEWER COMPANY IN SAN FRANCISCO AND TALKED TO HIS FRANCISCO AND TALKED TO HIS FATHER WHO THEY WERE VERY CLOSE FATHER WHO THEY WERE VERY CLOSE AND HAD AN OPPORTUNITY TO TAKE A AND HAD AN OPPORTUNITY TO TAKE A PAY CUT TO DO SOME CARTOON, SOME PAY CUT TO DO SOME CARTOON, SOME DRAWING FOR THE PAPER AND THAT DRAWING FOR THE PAPER AND THAT WAS SORT OF THE BEGINNING.

WAS SORT OF THE BEGINNING.

>> Reporter: IN 1904 GOLDBERG >> Reporter: IN 1904 GOLDBERG WAS HIRED BY THE SAN FRANCISCO WAS HIRED BY THE SAN FRANCISCO CHRONICLE AS A SPORTS CHRONICLE AS A SPORTS CARTOONIST, SHORTLY AFTER HE CARTOONIST, SHORTLY AFTER HE MADE THE LEAP TO THE EAST COAST.

MADE THE LEAP TO THE EAST COAST.

>> AS HE DEVELOPED HE DECIDED HE >> AS HE DEVELOPED HE DECIDED HE NEEDED TO GO TO NEW YORK AND NEEDED TO GO TO NEW YORK AND CAME TO NEW YORK IN 1907 WHICH CAME TO NEW YORK IN 1907 WHICH IS AN AMAZING TIME TO BE IN NEW IS AN AMAZING TIME TO BE IN NEW YORK.

YORK.

THERE IS A MARKET CRASH AND LOST THERE IS A MARKET CRASH AND LOST ABOUT 50% OF THE MARKET VALUE ABOUT 50% OF THE MARKET VALUE WHICH WAS KIND OF FRIGHTENING WHICH WAS KIND OF FRIGHTENING BUT THE OTHER PART WAS THIS IS A BUT THE OTHER PART WAS THIS IS A TIME WHERE YOU KNOW THE TIME WHERE YOU KNOW THE INDUSTRIAL REVOLUTION WAS COMING INDUSTRIAL REVOLUTION WAS COMING INTO FULL SWING, EVERYTHING WAS INTO FULL SWING, EVERYTHING WAS HAPPENING, CULTURALLY, HAPPENING, CULTURALLY, ECONOMICALLY, IT WAS AN AMAZING ECONOMICALLY, IT WAS AN AMAZING TIME AND HE WAS A PERSON WHO WAS TIME AND HE WAS A PERSON WHO WAS A GREAT OBSERVER AND COULD TAKE A GREAT OBSERVER AND COULD TAKE THOSE OBSERVATIONS AND PUT THEM THOSE OBSERVATIONS AND PUT THEM TO PAPER.

TO PAPER.

>> THIS IS A TIME WHEN WE ARE >> THIS IS A TIME WHEN WE ARE TRANSITIONING FROM HORSE AND TRANSITIONING FROM HORSE AND BUGGY TO AUTOMOBILE AND SO HIS BUGGY TO AUTOMOBILE AND SO HIS ILLUSTRATIONS, HIS CARTOONING, ILLUSTRATIONS, HIS CARTOONING, HIS ENGINEERING BACKGROUND AND HIS ENGINEERING BACKGROUND AND WE SEE HIM DEVELOP THE WE SEE HIM DEVELOP THE INVENTIONS PUT TO PAPER, WAS HE INVENTIONS PUT TO PAPER, WAS HE HELPING AMERICANS COPE WITH THIS HELPING AMERICANS COPE WITH THIS TRANSITION?

TRANSITION?

>> THERE WAS A LOT OF OTHER >> THERE WAS A LOT OF OTHER THINGS GOING ON AS WELL.

THINGS GOING ON AS WELL.

CERTAINLY THERE WAS A LOVE CERTAINLY THERE WAS A LOVE AFFAIR OF THE MACHINE AND WHICH AFFAIR OF THE MACHINE AND WHICH KIND OF HITS A WALL AFTER THE KIND OF HITS A WALL AFTER THE FIRST WORLD WAR AND IN THE WORLD FIRST WORLD WAR AND IN THE WORLD OF ART YOU HAD THE RISE OF DADA OF ART YOU HAD THE RISE OF DADA WHICH IS SORT OF ANTIART AND WHICH IS SORT OF ANTIART AND THERE IS THIS LOVE OF MACHINE THERE IS THIS LOVE OF MACHINE AND THEN THE MACHINE BEING NOT AND THEN THE MACHINE BEING NOT SO LOVABLE AND I THINK ALL OF SO LOVABLE AND I THINK ALL OF THESE THINGS WERE IN THE AIR.

THESE THINGS WERE IN THE AIR.

I MEAN I CAN'T IMAGINE ANOTHER I MEAN I CAN'T IMAGINE ANOTHER PERIOD OF TIME AS EXCITING AS PERIOD OF TIME AS EXCITING AS THE PERIOD OF TIME THAT GOLDBERG THE PERIOD OF TIME THAT GOLDBERG WAS IN NEW YORK.

WAS IN NEW YORK.

MY TARGET WAS REALLY ABOUT THE MY TARGET WAS REALLY ABOUT THE DRAWINGS AND PUTTING HIM IN A DRAWINGS AND PUTTING HIM IN A DIFFERENT CONTEXT, HISTORICAL DIFFERENT CONTEXT, HISTORICAL CONTEXT NOT ONLY IN THE WORLD OF CONTEXT NOT ONLY IN THE WORLD OF ART BUT ALSO IN AMERICAN CONTEXT ART BUT ALSO IN AMERICAN CONTEXT OF HUMOROUS LIKE MARK TWAIN AND OF HUMOROUS LIKE MARK TWAIN AND WILL ROGERS ALL ARE THE WILL ROGERS ALL ARE THE REGIONALIST PAINTERS LIKE GRANT REGIONALIST PAINTERS LIKE GRANT WOOD SO YOU KNOW YOU CAN SEE AND WOOD SO YOU KNOW YOU CAN SEE AND EVEN THE WAY THE CHARACTERS ARE EVEN THE WAY THE CHARACTERS ARE RENDERED IS A VERY STRONG RENDERED IS A VERY STRONG RELATIONSHIP.

RELATIONSHIP.

>> WHAT FASCINATES YOU THE MOST >> WHAT FASCINATES YOU THE MOST AS YOU HAVE EXPLORED THE LIFE AS YOU HAVE EXPLORED THE LIFE AND THE WORKS OF RUBE GOLDBERG.

AND THE WORKS OF RUBE GOLDBERG.

>> HIS HAND.

>> HIS HAND.

I THINK HIS DRAWINGS ARE I THINK HIS DRAWINGS ARE AMAZING.

AMAZING.

I ESPECIALLY AM TAKEN BY THE I ESPECIALLY AM TAKEN BY THE DRAWINGS FROM THE LATE 19 TEENS DRAWINGS FROM THE LATE 19 TEENS SAY 1910 TO 1930s.

SAY 1910 TO 1930s.

I THINK THOSE ARE AMAZING SMALL I THINK THOSE ARE AMAZING SMALL WORKS OF ART AND THEIR WORKS OF ART AND THEIR RELATIONSHIP TO THE HISTORY OF RELATIONSHIP TO THE HISTORY OF ART IS VERY STRONG.

ART IS VERY STRONG.

♪ ♪ WHO DOES THIS FIGURE REMIND YOU WHO DOES THIS FIGURE REMIND YOU OF?

OF?

>> THAT FIGURE REMINDS ME OF A >> THAT FIGURE REMINDS ME OF A YOUNG, WELL I'M OLD ENOUGH, I YOUNG, WELL I'M OLD ENOUGH, I WISH I WERE YOUNG ENOUGH I'M OLD WISH I WERE YOUNG ENOUGH I'M OLD ENOUGH TO REMEMBER THAT ENOUGH TO REMEMBER THAT CHARACTER LOOKS LIKE OLIVE OIL CHARACTER LOOKS LIKE OLIVE OIL FROM POPEYE AND THIS IS A FEW FROM POPEYE AND THIS IS A FEW YEARS BEFORE THE COMIC STRIP YEARS BEFORE THE COMIC STRIP COMES UP AND LOOK AT THE COMES UP AND LOOK AT THE COMPETITION AND USES PATTERN TO COMPETITION AND USES PATTERN TO MOVE THE EYE TO THE VIEWERS' EYE MOVE THE EYE TO THE VIEWERS' EYE AROUND THE DRAWING AND HOW THAT AROUND THE DRAWING AND HOW THAT OSCILLATION NOT ONLY CREATES THE OSCILLATION NOT ONLY CREATES THE DEPTH BUT IT ALSO MIMICS WHAT IS DEPTH BUT IT ALSO MIMICS WHAT IS HAPPENING WITH THE MACHINE.

HAPPENING WITH THE MACHINE.

WHAT IS INTERESTING I THINK WHAT IS INTERESTING I THINK ABOUT RUBE GOLDBERG'S WORK IS ABOUT RUBE GOLDBERG'S WORK IS THE ARTICULATION OF HIS LINE AND THE ARTICULATION OF HIS LINE AND HIS PATTERN AND HIS USE OF HIS PATTERN AND HIS USE OF PATTERN TO MOVE THE FIGURE, MOVE PATTERN TO MOVE THE FIGURE, MOVE THE VIEWER THROUGH THE FIGURES THE VIEWER THROUGH THE FIGURES AND WHAT IS HAPPENING AND ALSO AND WHAT IS HAPPENING AND ALSO NOT EVERYBODY'S FACE GETS SEEN NOT EVERYBODY'S FACE GETS SEEN SO YOU HAVE THIS FIGURE TO THE SO YOU HAVE THIS FIGURE TO THE BACK AND YOU SEE HER FACE, THIS BACK AND YOU SEE HER FACE, THIS FACE IS TO A SIDE, SHE HAS A FACE IS TO A SIDE, SHE HAS A MUCH MORE NATURALISIC LOOK THAN MUCH MORE NATURALISIC LOOK THAN THE OLIVE OIL CHARACTER WHO THE OLIVE OIL CHARACTER WHO LOOKS VERY MUCH LOOK A CARTOON LOOKS VERY MUCH LOOK A CARTOON SO THERE ARE THESE INTERPLAYS SO THERE ARE THESE INTERPLAYS THAT ARE FASCINATING AND I THINK THAT ARE FASCINATING AND I THINK BRINGING A LOT MORE BRINGING A LOT MORE INVESTIGATION FOR THE VIEWER.

INVESTIGATION FOR THE VIEWER.

♪ ♪ THESE ARE CARTOONS, THEY ARE THESE ARE CARTOONS, THEY ARE ILLUSTRATIONS IN YOUR MIND WHAT ILLUSTRATIONS IN YOUR MIND WHAT IS THE STYLE THAT WE SEE, IF YOU IS THE STYLE THAT WE SEE, IF YOU LOOK AT THE BROADER PICTURE OF LOOK AT THE BROADER PICTURE OF CARTOONING AND ANIMATION, THAT CARTOONING AND ANIMATION, THAT WAS GOING ON AT THAT PERIOD, WAS GOING ON AT THAT PERIOD, THERE IS STRONG RELATIONSHIPS.

THERE IS STRONG RELATIONSHIPS.

THERE IS AN ARTICULATION OF HIS THERE IS AN ARTICULATION OF HIS LINE THAT REALLY PUTS HIM IN I LINE THAT REALLY PUTS HIM IN I THINK A SPECIAL CATEGORY BEYOND THINK A SPECIAL CATEGORY BEYOND THE CARTOON, THE CARTOONIST OF THE CARTOON, THE CARTOONIST OF THE ERA.

THE ERA.

I THINK THAT LIKE SMALL FINISHED I THINK THAT LIKE SMALL FINISHED DRAWINGS THAT HAVE A STRONG DRAWINGS THAT HAVE A STRONG RELATIONSHIP TO OTHER LANDISH RELATIONSHIP TO OTHER LANDISH WORK FROM THE MIDDLE AGES.

WORK FROM THE MIDDLE AGES.

THE FIGURES ARE REALLY REAL LIFE THE FIGURES ARE REALLY REAL LIFE THERE IS A SENSE OF WEIGHT AND THERE IS A SENSE OF WEIGHT AND VOLUME IN THE WORKS AND, IN VOLUME IN THE WORKS AND, IN FACT, IN A LOT OF CASES THE FACT, IN A LOT OF CASES THE STRIPS ARE LIKE SMALL PANELS.

STRIPS ARE LIKE SMALL PANELS.

♪ ♪ HE IS ABLE TO CREATE THE DEPTH HE IS ABLE TO CREATE THE DEPTH UNLIKE IN THE PREVIOUS DRAWING UNLIKE IN THE PREVIOUS DRAWING THROUGH A LINEAR PERSPECTIVE, HE THROUGH A LINEAR PERSPECTIVE, HE IS DOING IT THROUGH ATMOSPHERIC IS DOING IT THROUGH ATMOSPHERIC PERSPECTIVE AND YOU CAN SEE THE PERSPECTIVE AND YOU CAN SEE THE FIGURES AS THEY MOVE FURTHER IN FIGURES AS THEY MOVE FURTHER IN SPACE AND ARE LESS ABLE TO BE SPACE AND ARE LESS ABLE TO BE SEEN.

SEEN.

AS A CHILD I WAS A CARTOONIST AS A CHILD I WAS A CARTOONIST AND BECAME AN ARTIST AND I WAS AND BECAME AN ARTIST AND I WAS ALWAYS FASCINATING WITH HIS -- ALWAYS FASCINATING WITH HIS -- THE WAY THE CONTRAPTIONS WERE THE WAY THE CONTRAPTIONS WERE MADE AND THE DRAWING AND THE MADE AND THE DRAWING AND THE ARTICULATED LINE BUT I WASN'T -- ARTICULATED LINE BUT I WASN'T -- I MEAN I DIDN'T REALLY KNOW I MEAN I DIDN'T REALLY KNOW ABOUT HIS CARTOONS AS MUCH UNTIL ABOUT HIS CARTOONS AS MUCH UNTIL I GOT INVOLVED WITH THIS PROJECT I GOT INVOLVED WITH THIS PROJECT AND THAT CHANGED EVERYTHING.

AND THAT CHANGED EVERYTHING.

THERE IS A CERTAIN AND WILL YOU THERE IS A CERTAIN AND WILL YOU TELL ME IF I'M WRONG LIKE A TELL ME IF I'M WRONG LIKE A CERTAIN CHILD LIKE QUALITY WITH CERTAIN CHILD LIKE QUALITY WITH RUBE GOLDBERG.

RUBE GOLDBERG.

>> YEAH, ONCE YOU CARTOON I >> YEAH, ONCE YOU CARTOON I THINK THAT JUST STICKS WITH YOU.

THINK THAT JUST STICKS WITH YOU.

REALLY, I THINK THAT I MEAN YOU REALLY, I THINK THAT I MEAN YOU ARE LOOKING AT THE WORK OF A ARE LOOKING AT THE WORK OF A GENTLEMAN WHO WAS NOT FORMALLY GENTLEMAN WHO WAS NOT FORMALLY TRAINED, WHO MAYBE HAD A COUPLE TRAINED, WHO MAYBE HAD A COUPLE OF YEARS OF WORKING, VERY SOME OF YEARS OF WORKING, VERY SOME LESSONS BY A SIGN PAINTER IN SAN LESSONS BY A SIGN PAINTER IN SAN FRANCISCO BUT HE WAS PRETTY AND FRANCISCO BUT HE WAS PRETTY AND HE WAS LEFT-HANDED, HE DREW WITH HE WAS LEFT-HANDED, HE DREW WITH HIS RIGHT, BUT HE DEVELOPED ALL HIS RIGHT, BUT HE DEVELOPED ALL THIS THROUGH OBSERVATION AND THE THIS THROUGH OBSERVATION AND THE AMOUNT OF WORK THAT HE DID IS AMOUNT OF WORK THAT HE DID IS STAGGERING TO YOUR POINT ABOUT STAGGERING TO YOUR POINT ABOUT CARTOONING AND HUMOR I THINK CARTOONING AND HUMOR I THINK THAT YOU MAINTAIN THAT CHILD THAT YOU MAINTAIN THAT CHILD LIKE QUALITY OTHERWISE YOU DON'T LIKE QUALITY OTHERWISE YOU DON'T SEE THE WORLD THROUGH THOSE SEE THE WORLD THROUGH THOSE LENSES.

LENSES.

>> SO THIS REALITY THAT IS IN >> SO THIS REALITY THAT IS IN EVERYBODY'S FACE HE IS USING EVERYBODY'S FACE HE IS USING SATIRE TO MAKE PEOPLE FEEL SATIRE TO MAKE PEOPLE FEEL BETTER.

BETTER.

>> AND PARODY AND MAKING SOME >> AND PARODY AND MAKING SOME COMMENTS ABOUT FOOLISHNESS WHICH COMMENTS ABOUT FOOLISHNESS WHICH WE ALL PARTICIPATE IN AND HE IS WE ALL PARTICIPATE IN AND HE IS ALSO YOU KNOW YOU LOOK AT SOME ALSO YOU KNOW YOU LOOK AT SOME OF THE CHARACTERS IN THE OF THE CHARACTERS IN THE CARTOONS AND THE DRAWINGS, YOU CARTOONS AND THE DRAWINGS, YOU CAN STILL SEE THESE FIGURES IN CAN STILL SEE THESE FIGURES IN NEW YORK.

NEW YORK.

YOU WALK DOWN A STREET GO YOU WALK DOWN A STREET GO ANYWHERE AND YOU KNOW WHAT IS ANYWHERE AND YOU KNOW WHAT IS BEAUTIFUL ABOUT HIS DRAWINGS IS BEAUTIFUL ABOUT HIS DRAWINGS IS THE PERSONALITIES THAT HE DRAWS, THE PERSONALITIES THAT HE DRAWS, THESE KIND OF CHARACTURES BECOME THESE KIND OF CHARACTURES BECOME THAT TYPE OF STEREOTYPE PERSON.

THAT TYPE OF STEREOTYPE PERSON.

THE CARTOON IS ABOUT LADIES THE CARTOON IS ABOUT LADIES FASHION.

FASHION.

THIS PARTICULAR SITUATION ABOUT THIS PARTICULAR SITUATION ABOUT SKIRTS AND YOU HAVE THE TWO SKIRTS AND YOU HAVE THE TWO LADIES THAT ARE REPRESENTED HERE LADIES THAT ARE REPRESENTED HERE THAT ARE RENDERED ARE RENDERED THAT ARE RENDERED ARE RENDERED IN A MORE NATURALISIC WAY IF YOU IN A MORE NATURALISIC WAY IF YOU WERE DRAWING A PERSON.

WERE DRAWING A PERSON.

HOWEVER, THE GROUP OF MEN ARE HOWEVER, THE GROUP OF MEN ARE ALL CARTOONISH AND KIND OF GOOFY ALL CARTOONISH AND KIND OF GOOFY AND DON'T LOOK LIKE THEY ARE AND DON'T LOOK LIKE THEY ARE PART OF THE ACTUAL SCENE, THEY PART OF THE ACTUAL SCENE, THEY LOOK LIKE THEY ARE PART OF A LOOK LIKE THEY ARE PART OF A CARTOON AND EVERYTHING ELSE IS CARTOON AND EVERYTHING ELSE IS PUT INTO PLACE, CITY SCAPE IS PUT INTO PLACE, CITY SCAPE IS RENDERED IN A NATURALISIC WAY RENDERED IN A NATURALISIC WAY AND IT'S A STAGE SET BUT A PLACE AND IT'S A STAGE SET BUT A PLACE WE CAN VIEW THE SETTING.

WE CAN VIEW THE SETTING.

>> THIS GUY SAYS SHE IS A PEACH.

>> THIS GUY SAYS SHE IS A PEACH.

[ LAUGHTER ] [ LAUGHTER ] ♪ ♪ SO EVERYONE CAN ASSOCIATE WITH SO EVERYONE CAN ASSOCIATE WITH THIS PERSON IN YOUR LIFE.

THIS PERSON IN YOUR LIFE.

>> I WOULD THINK SO.

>> I WOULD THINK SO.

I MEAN, CERTAINLY THE OTHER SIDE I MEAN, CERTAINLY THE OTHER SIDE TO THAT WE WERE JUST TALKING TO THAT WE WERE JUST TALKING EARLIER TODAY, THE OTHER PART IS EARLIER TODAY, THE OTHER PART IS THAT THERE ARE SOME THINGS THAT THAT THERE ARE SOME THINGS THAT ARE LOST TO US TODAY.

ARE LOST TO US TODAY.

THE VERNACULAR AT THE TIME THE VERNACULAR AT THE TIME CERTAIN COMMENTS OR CERTAIN COMMENTS OR CONVERSATIONS OR VIEW POINTS CONVERSATIONS OR VIEW POINTS THAT WOULD HAVE BEEN ACCEPTABLE THAT WOULD HAVE BEEN ACCEPTABLE OR BEEN COMMONPLACE IN THE LATE OR BEEN COMMONPLACE IN THE LATE TEENS AND EARLY 20s AND THE TEENS AND EARLY 20s AND THE PREVIOUS CENTURY.

PREVIOUS CENTURY.

THAT IS NOT US TODAY SO THAT IS NOT US TODAY SO SOMETIMES IT'S LIKE GOODS GOING SOMETIMES IT'S LIKE GOODS GOING BACK INTO HISTORY.

BACK INTO HISTORY.

>> CONNECTING WITH HIS GROWING >> CONNECTING WITH HIS GROWING NATIONAL AUDIENCE GOLDBERG NATIONAL AUDIENCE GOLDBERG POPULARIZES STREET SLANG AND POPULARIZES STREET SLANG AND COMMONPLACE LIKE BOLOGNA, COMMONPLACE LIKE BOLOGNA, PHONEY-BOLOGNE AND LOLAPALOOZA PHONEY-BOLOGNE AND LOLAPALOOZA JUST TO NAME A FEW AND HE JUST TO NAME A FEW AND HE MARRIED AND HAD TWO SONS THOMAS MARRIED AND HAD TWO SONS THOMAS AND GEORGE HERE IN THIS RARE AND GEORGE HERE IN THIS RARE FAMILY FILM RUBE SPENDS TIME AT FAMILY FILM RUBE SPENDS TIME AT HIS DRAFTING TABLE WITH HIS HIS DRAFTING TABLE WITH HIS BOYS.

BOYS.

♪ ♪ I SEE HIM BEING SORT OF AN EVERY I SEE HIM BEING SORT OF AN EVERY GUY, HE IS AN OBSERVER AND GUY, HE IS AN OBSERVER AND SUDDENLY HE IS A PERSON WHO IS SUDDENLY HE IS A PERSON WHO IS WATCHING EVERYTHING AND WATCHING EVERYTHING AND RECORDING IT.

RECORDING IT.

HE ALSO TAKES ABOUT I THINK FROM HE ALSO TAKES ABOUT I THINK FROM WHAT 1910-1915 HE IS DOING SOME WHAT 1910-1915 HE IS DOING SOME VAUDVILLE AND YOU CAN SEE THE VAUDVILLE AND YOU CAN SEE THE INFLUENCE IN HIS WORK AND THE INFLUENCE IN HIS WORK AND THE VIEWER IS SEEING HOW THE VIEWER IS SEEING HOW THE NARRATIVE GOES FROM STAGE TO NARRATIVE GOES FROM STAGE TO STAGE TO STAGE AND WITHIN THE -- STAGE TO STAGE AND WITHIN THE -- WITHIN THE BOXES HOW CHARACTERS WITHIN THE BOXES HOW CHARACTERS MOVE IN AND OUT OF STAGE MOVE IN AND OUT OF STAGE BASICALLY.

BASICALLY.

>> Reporter: GOLDBERG'S KNACK >> Reporter: GOLDBERG'S KNACK FOR CARTOON PERFORMANCE WAS FOR CARTOON PERFORMANCE WAS ELEVATED TO NEW HEIGHTS WHEN HE ELEVATED TO NEW HEIGHTS WHEN HE WROTE THE THREE STOOGES SCREEN WROTE THE THREE STOOGES SCREEN PLAY SOUP TO NUTS IN 1930.

PLAY SOUP TO NUTS IN 1930.

[ LAUGHTER ] [ LAUGHTER ] HE IS ALSO GOOD FRIENDS WITH HE IS ALSO GOOD FRIENDS WITH GRACHO-MARX AND A FREQUENT GUEST GRACHO-MARX AND A FREQUENT GUEST AT THE ALGONQUIN ROUNDTABLE AND AT THE ALGONQUIN ROUNDTABLE AND THE BROTHERS ARE GUESTS AT HIS THE BROTHERS ARE GUESTS AT HIS HOUSE ON A REGULAR BASIS SO HOUSE ON A REGULAR BASIS SO THERE IS A WIDE INFLUENCE OF THERE IS A WIDE INFLUENCE OF WHAT IS HAPPENING ON SO MANY WHAT IS HAPPENING ON SO MANY LEVELS IN NEW YORK DURING THAT LEVELS IN NEW YORK DURING THAT TIME.

TIME.

THE VAUDEVILLE PIECE AS WELL AS THE VAUDEVILLE PIECE AS WELL AS THE ANIMATION AND RELATIONSHIP THE ANIMATION AND RELATIONSHIP TO THE FILM AS WELL YOU CAN SEE TO THE FILM AS WELL YOU CAN SEE IN THE VARIETY OF HIS DIFFERENT IN THE VARIETY OF HIS DIFFERENT DRAWINGS.

DRAWINGS.

EVEN TO THE POINT OF WE HAVE A EVEN TO THE POINT OF WE HAVE A COUPLE OF DRAWINGS WHERE THEY COUPLE OF DRAWINGS WHERE THEY HAVE SPROCKETS ON THE SIDE LIKE HAVE SPROCKETS ON THE SIDE LIKE A PIECE OF FILM.

A PIECE OF FILM.

>> EARLY ATTEMPT AT ANIMATION >> EARLY ATTEMPT AT ANIMATION AND HIS ARTISTIC HAND AT WORK A AND HIS ARTISTIC HAND AT WORK A STORY LINE WITH COMIC STRIP STORY LINE WITH COMIC STRIP BUBBLES AND UNMISTAKABLE BUBBLES AND UNMISTAKABLE GOLDBERG HUMOR THIS IS 1925 AND GOLDBERG HUMOR THIS IS 1925 AND INCLUDES FILM FOOTAGE OF HIMSELF INCLUDES FILM FOOTAGE OF HIMSELF LIKE THE VAUDEVILLE COMEDIAN HE LIKE THE VAUDEVILLE COMEDIAN HE IS A PART OF THE ANIMATED STAGE IS A PART OF THE ANIMATED STAGE AND THE BUTT OF THE JOKE.

AND THE BUTT OF THE JOKE.

HE CREATED A NUMBER OF CARTOON HE CREATED A NUMBER OF CARTOON STRIPS INCLUDING FOOLISH STRIPS INCLUDING FOOLISH QUESTIONS, SIDE SHOW AND I'M THE QUESTIONS, SIDE SHOW AND I'M THE GUY.

GUY.

THOSE WOULD OFTEN INCLUDE SIDE THOSE WOULD OFTEN INCLUDE SIDE BAR PANELS CALLED CARTOON BAR PANELS CALLED CARTOON FOLLEYS.

FOLLEYS.

>> THERE IS USUALLY ANOTHER >> THERE IS USUALLY ANOTHER CARTOON IN THE BOX HAPPENING OR CARTOON IN THE BOX HAPPENING OR THERE IS A SIDE BAR EFFECT OF THERE IS A SIDE BAR EFFECT OF SOMEONE TALKING, MAYBE A SOMEONE TALKING, MAYBE A CONNECTION, MAYBE SOMETHING CONNECTION, MAYBE SOMETHING TOTALLY OFF AND AGAIN THIS IDEA TOTALLY OFF AND AGAIN THIS IDEA OF HAVING ALL THESE DIFFERENT OF HAVING ALL THESE DIFFERENT THINGS LIKE IN VAUDEVILLE NOT A THINGS LIKE IN VAUDEVILLE NOT A LOT OF DIFFERENT ACTIVITIES LOT OF DIFFERENT ACTIVITIES HAPPENING ON STAGE AT THE SAME HAPPENING ON STAGE AT THE SAME TIME.

TIME.

>> Reporter: HIS CHARACTER >> Reporter: HIS CHARACTER CREATIONS ON THAT STAGE ARE MIKE CREATIONS ON THAT STAGE ARE MIKE AND IKE, BOOB McNUT, DOCK RIGHT, AND IKE, BOOB McNUT, DOCK RIGHT, LOLLAPOLOZA AND BAXTER AND RUBE LOLLAPOLOZA AND BAXTER AND RUBE BAXTER'S ALTER EGO PROFESSOR BAXTER'S ALTER EGO PROFESSOR GONZOLLO-BUTTS.

GONZOLLO-BUTTS.

>> ONE OUT OF VAUDEVILLE LIKE >> ONE OUT OF VAUDEVILLE LIKE THE DOCTOR AND THE NURSE AND I THE DOCTOR AND THE NURSE AND I THINK HE IS TAKING SOME OF HIS THINK HE IS TAKING SOME OF HIS INFORMATION FROM THEATRE, HE IS INFORMATION FROM THEATRE, HE IS ALSO TAKING IT FROM PEOPLE AND ALSO TAKING IT FROM PEOPLE AND SOAKING IT UP IN THE WORLD IN SOAKING IT UP IN THE WORLD IN GENERAL WHAT IS THE STREET WHERE GENERAL WHAT IS THE STREET WHERE PEOPLE ARE TALKING ABOUT HOW PEOPLE ARE TALKING ABOUT HOW PEOPLE ARE REACTING.

PEOPLE ARE REACTING.

HE IS A GREAT STORY TELLER SO HE HE IS A GREAT STORY TELLER SO HE IS SEEING WHAT HIS KIND OF IS SEEING WHAT HIS KIND OF HAPPENING AND THE GREAT CULTURAL HAPPENING AND THE GREAT CULTURAL CHANGES THAT ARE HAPPENING AT CHANGES THAT ARE HAPPENING AT THAT TIME.

THAT TIME.

WE HAVE THE SUFFERAGE MOVEMENT WE HAVE THE SUFFERAGE MOVEMENT AND ALL OF THE CATACLISMIC AND ALL OF THE CATACLISMIC EFFECTS THAT LEAD ULTIMATELY TO EFFECTS THAT LEAD ULTIMATELY TO TWO WORLD WARS AND THE ECONOMICS TWO WORLD WARS AND THE ECONOMICS THAT COME IN THROUGH THAT.

THAT COME IN THROUGH THAT.

SO PEOPLE START TO CHANGE ABOUT SO PEOPLE START TO CHANGE ABOUT HOW THEY RELATE TO ONE ANOTHER, HOW THEY RELATE TO ONE ANOTHER, HE IS REALLY THIS KIND OF HE IS REALLY THIS KIND OF INTERESTING COMPOSITE IN A LOT INTERESTING COMPOSITE IN A LOT OF WAYS OF ALL THE GOOD AND OF WAYS OF ALL THE GOOD AND POSSIBLY SOME OF THE BAD.

POSSIBLY SOME OF THE BAD.

SO IF HE IS EXPERIENCING WHAT SO IF HE IS EXPERIENCING WHAT THE REST OF THE COUNTRY, THE THE REST OF THE COUNTRY, THE PHASES THAT THE COUNTRY GOES PHASES THAT THE COUNTRY GOES THROUGH THE DIFFERENT CRISIS THROUGH THE DIFFERENT CRISIS THAT ARE HAPPENING WE TALKED THAT ARE HAPPENING WE TALKED ABOUT THE DEPRESSION AND WORLD ABOUT THE DEPRESSION AND WORLD WAR I AND WORLD WAR II AND THE WAR I AND WORLD WAR II AND THE DEVELOPMENT OF THE ATOMIC BOMB, DEVELOPMENT OF THE ATOMIC BOMB, HOW DOES HE CHANGE ALONG THE HOW DOES HE CHANGE ALONG THE WAY?

WAY?

DOES HIS ART CHANGE ALONG THE DOES HIS ART CHANGE ALONG THE WAY?

WAY?

>> HIS ART CHANGES, HE GOES FROM >> HIS ART CHANGES, HE GOES FROM ARTICULATED LINE TO WHICH IS ARTICULATED LINE TO WHICH IS DONE WITH A PEN TO WORKING WITH DONE WITH A PEN TO WORKING WITH BRUSH SO THE LINES HAVE A TELL BRUSH SO THE LINES HAVE A TELL GRAPHIC QUALITY BY THE 50s BUT GRAPHIC QUALITY BY THE 50s BUT IN THE 40s HE STARTS WORKING IN THE 40s HE STARTS WORKING WITH CRAYON AND DOING POLITICAL WITH CRAYON AND DOING POLITICAL EDITORIAL CARTOONS SO YOU CAN EDITORIAL CARTOONS SO YOU CAN SEE THAT THOSE KIND OF SHIFTS.

SEE THAT THOSE KIND OF SHIFTS.

HE SEEMS TO HAVE BEEN A MAN HE SEEMS TO HAVE BEEN A MAN UNFORTUNATELY WHO I NEVER MET UNFORTUNATELY WHO I NEVER MET BUT EXCEPT THROUGH THE WORK HE BUT EXCEPT THROUGH THE WORK HE LEFT TO ALWAYS BE QUESTIONING, LEFT TO ALWAYS BE QUESTIONING, LOOKING, OBSERVING, THINKING AND LOOKING, OBSERVING, THINKING AND I DON'T THINK HE WENT A DAY I DON'T THINK HE WENT A DAY WITHOUT DRAWING.

WITHOUT DRAWING.

I MEAN, AND THEN WHEN HE I MEAN, AND THEN WHEN HE COULDN'T DRAW HE STARTED COULDN'T DRAW HE STARTED SCULPTING SO HE WAS SOMEONE WHO SCULPTING SO HE WAS SOMEONE WHO WAS ON FIRE I GUESS IN A TRUE WAS ON FIRE I GUESS IN A TRUE SENSE OF AN ARTIST.

SENSE OF AN ARTIST.

>> WHO IS THAT CHAP WORKING OVER >> WHO IS THAT CHAP WORKING OVER THERE?

THERE?

♪ ♪ RUBE GOLDBERG.

RUBE GOLDBERG.

>> GOLDBERG'S STARDOM AND >> GOLDBERG'S STARDOM AND HOLLYWOOD FRIENDSHIPS AND HOLLYWOOD FRIENDSHIPS AND EXPERIENCED WRITING SCREEN PLAYS EXPERIENCED WRITING SCREEN PLAYS LANDS HIM A ROLE IN THE 1937 LANDS HIM A ROLE IN THE 1937 MOVIE ARTISTS AND MODELS.

MOVIE ARTISTS AND MODELS.

HERE HE IS INTERVIEWED BY JACK HERE HE IS INTERVIEWED BY JACK BENNIE.

BENNIE.

>> YOUR COMIC STRIP >> YOUR COMIC STRIP LALLAPOLOOZA.

LALLAPOLOOZA.

>> HE WAS ENGAGED IN A VARIETY >> HE WAS ENGAGED IN A VARIETY OF THINGS AND WHAT WAS HAPPENING OF THINGS AND WHAT WAS HAPPENING AT THE TIME AND WHERE THAT LINE AT THE TIME AND WHERE THAT LINE OF INTEREST WOULD GO AND HOW OF INTEREST WOULD GO AND HOW THAT WOULD WORK WITH SOMETHING THAT WOULD WORK WITH SOMETHING ELSE IF SOMETHING ELSE CAME IN ELSE IF SOMETHING ELSE CAME IN THAT WOULD TAKE HIS INTEREST.

THAT WOULD TAKE HIS INTEREST.

I MEAN, HE WAS ONLY ONE PERSON I MEAN, HE WAS ONLY ONE PERSON SO I MEAN AND THERE WAS ONLY 24 SO I MEAN AND THERE WAS ONLY 24 HOURS IN A DAY AND AFTER LOOKING HOURS IN A DAY AND AFTER LOOKING AT THE VOLUME OF WORK THAT HE AT THE VOLUME OF WORK THAT HE ACCOMPLISHED, IT'S JUST AMAZING.

ACCOMPLISHED, IT'S JUST AMAZING.

>> Reporter: TALENTED AND >> Reporter: TALENTED AND VERSATILE IN 1938 GOLDBERG VERSATILE IN 1938 GOLDBERG TRANSITIONS HIS HUMAN INTEREST TRANSITIONS HIS HUMAN INTEREST CARTOONS TO TACKLE GOVERNMENT CARTOONS TO TACKLE GOVERNMENT POLICY, BUREAUCRACY AND FOREIGN POLICY, BUREAUCRACY AND FOREIGN AFFAIRS, A POLITICAL CARTOONIST AFFAIRS, A POLITICAL CARTOONIST WITH THE NEW YORK SUN HE WINS WITH THE NEW YORK SUN HE WINS THE PULITZER PRIZE IN 1948.

THE PULITZER PRIZE IN 1948.

>> HE WAS A MAN WHO WAS ALWAYS >> HE WAS A MAN WHO WAS ALWAYS ON THE MOVE.

ON THE MOVE.

DABBLED IN SOME THINGS AND DABBLED IN SOME THINGS AND STAYED WITH OTHER THINGS, I STAYED WITH OTHER THINGS, I THINK HE WAS ALWAYS LOOKING FOR THINK HE WAS ALWAYS LOOKING FOR THE NEXT IDEA AND I THINK THAT THE NEXT IDEA AND I THINK THAT HE WAS VERY AWARE OF HE WAS VERY AWARE OF TECHNOLOGICAL CHANGES AND I TECHNOLOGICAL CHANGES AND I THINK HE WANTED TO BE PART OF THINK HE WANTED TO BE PART OF THINGS AND I THINK HE WANTED TO THINGS AND I THINK HE WANTED TO SEE HOW HIS IDEAS WOULD TEST IN SEE HOW HIS IDEAS WOULD TEST IN DIFFERENT MEDIA.

DIFFERENT MEDIA.

I THINK HE WAS A RESTLESS IN I THINK HE WAS A RESTLESS IN SOME WAYS A RATHER RESTLESS SOME WAYS A RATHER RESTLESS SOUL.

SOUL.

>> WHAT MADE HIS RESTLESS?

>> WHAT MADE HIS RESTLESS?

>> I THINK HE WAS A PERSON THAT >> I THINK HE WAS A PERSON THAT HAD MORE IDEAS THAN HE HAD TIME HAD MORE IDEAS THAN HE HAD TIME TO DEAL WITH.

TO DEAL WITH.

I MEAN THAT IS WHY WHEN I SHOWED I MEAN THAT IS WHY WHEN I SHOWED YOU SOME OF THE SKETCHES HE IS YOU SOME OF THE SKETCHES HE IS DRAWING ON BOTH SIDES OF THE DRAWING ON BOTH SIDES OF THE PAPER AND I THINK HE WAS VERY PAPER AND I THINK HE WAS VERY EXCITED ABOUT LIFE AND ALL THAT EXCITED ABOUT LIFE AND ALL THAT COMES WITH THAT AND IN HIS COMES WITH THAT AND IN HIS INVESTIGATIONS OF THE DIFFERENT INVESTIGATIONS OF THE DIFFERENT PARTS OF LIFE AND THE NOT ONLY PARTS OF LIFE AND THE NOT ONLY HIS IMMEDIATE LIFE BUT ALSO THE HIS IMMEDIATE LIFE BUT ALSO THE WAY THE WORLD WAS CHANGING.

WAY THE WORLD WAS CHANGING.

I MEAN, THINK ABOUT THE AMOUNT I MEAN, THINK ABOUT THE AMOUNT OF CHANGE THAT OCCURRED FROM OF CHANGE THAT OCCURRED FROM 1907 TO 1967 OR 1977, HE GOT 1907 TO 1967 OR 1977, HE GOT INVOLVED IN SO MANY DIFFERENT INVOLVED IN SO MANY DIFFERENT THINGS, SPONSORSHIPS, GAMES, THINGS, SPONSORSHIPS, GAMES, MOUSE BASED ON THE MACHINES.

MOUSE BASED ON THE MACHINES.

>> YOU MENTIONED THE BOARD GAME >> YOU MENTIONED THE BOARD GAME MOUSETRAP THAT DATES BACK TO I MOUSETRAP THAT DATES BACK TO I THINK THE 1960s, 1976.

THINK THE 1960s, 1976.

>> I THINK IT WAS 63.

>> I THINK IT WAS 63.

>> SO MOUSETRAP VIDEO GAMES OF >> SO MOUSETRAP VIDEO GAMES OF TODAY.

TODAY.

>> YEAH.

>> YEAH.

>> THERE IS A MUSICAL GROUP OUT >> THERE IS A MUSICAL GROUP OUT THERE CALLED OKAY GO AND THEY THERE CALLED OKAY GO AND THEY HAVE A NUMBER OF CRAZY VIDEOS HAVE A NUMBER OF CRAZY VIDEOS USING RUBE GOLDBERG CONCEPTS.

USING RUBE GOLDBERG CONCEPTS.

>> YES AND THERE IS ALSO AN >> YES AND THERE IS ALSO AN ONGOING ENGINEERING AWARD, I ONGOING ENGINEERING AWARD, I THINK PURDUE RUNS THIS PURDUE THINK PURDUE RUNS THIS PURDUE UNIVERSITY ON AN ANNUAL BASIS UNIVERSITY ON AN ANNUAL BASIS CREATING OR RECREATING RUBE CREATING OR RECREATING RUBE GOLDBERG CONTRAPTIONS.

GOLDBERG CONTRAPTIONS.

>> HE IS COFOUNDER AND THE FIRST >> HE IS COFOUNDER AND THE FIRST PRESIDENT OF THE NATIONAL PRESIDENT OF THE NATIONAL CARTOONIST SOCIETY FORMED IN CARTOONIST SOCIETY FORMED IN 1948, ITS TOP AWARD PRESENTED TO 1948, ITS TOP AWARD PRESENTED TO THE CARTOONIST OF THE YEAR IS THE CARTOONIST OF THE YEAR IS THE RUBE.

THE RUBE.

YOU ARE THE EDITORIAL YOU ARE THE EDITORIAL INVESTIGATOR OF THIS GREAT INVESTIGATOR OF THIS GREAT EXHIBIT.

EXHIBIT.

>> CORRECT.

>> CORRECT.

>> HOW DO YOU HOPE THAT PEOPLE >> HOW DO YOU HOPE THAT PEOPLE REMEMBER RUBE GOLDBERG?

REMEMBER RUBE GOLDBERG?

>> I WOULD LIKE FOR PEOPLE TO >> I WOULD LIKE FOR PEOPLE TO REMEMBER HIM IN THE MORE THAN REMEMBER HIM IN THE MORE THAN JUST A CARTOONIST OR AN SADIRIST JUST A CARTOONIST OR AN SADIRIST AND MAKING OF CONTRAPTIONS BUT AND MAKING OF CONTRAPTIONS BUT AN ARTIST THAT IS IN HISTORICAL AN ARTIST THAT IS IN HISTORICAL CONTEXT A HUMOROUS, ON THE SAME CONTEXT A HUMOROUS, ON THE SAME LEVEL AS MARK TWAIN AND WILL LEVEL AS MARK TWAIN AND WILL ROGERS.

ROGERS.

A MAN WHO KIND OF RECORDED THE A MAN WHO KIND OF RECORDED THE GREAT CHANGES THAT WOULD HAVE GREAT CHANGES THAT WOULD HAVE HAPPENED IN THE 20TH CENTURY IN HAPPENED IN THE 20TH CENTURY IN AMERICA.

AMERICA.

I'D LIKE FOR THEM TO GET TO KNOW I'D LIKE FOR THEM TO GET TO KNOW HIM AS A FINE ARTIST WHO DID HIM AS A FINE ARTIST WHO DID AMAZING DRAWINGS, THAT IN SOME AMAZING DRAWINGS, THAT IN SOME WAYS CALLING HIM A CARTOON IS WAYS CALLING HIM A CARTOON IS TAKING HIM -- IS TAKING TAKING HIM -- IS TAKING SOMETHING AWAY.

SOMETHING AWAY.

>> AND YOU HAVE TAKEN THIS >> AND YOU HAVE TAKEN THIS EXHIBITION AND REALLY START TO EXHIBITION AND REALLY START TO GET A SENSE OF THE GENIUS OF GET A SENSE OF THE GENIUS OF THIS INDIVIDUAL.

THIS INDIVIDUAL.

MICHAEL THANK YOU SO MUCH.

MICHAEL THANK YOU SO MUCH.

>> YOU ARE VERY WELCOME.

>> YOU ARE VERY WELCOME.

♪