I Think We're All Bozos on This Bus | ||||
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Studio album by | ||||
Released | August 1971 | |||
Recorded | April–June 1971 [1] | |||
Genre | Comedy | |||
Length | 38:58 [2] | |||
Label | Columbia | |||
Producer | The Firesign Theatre | |||
The Firesign Theatre chronology | ||||
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Review scores | |
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Source | Rating |
The New Rolling Stone Record Guide | |
The Village Voice | B− [3] |
I Think We're All Bozos on This Bus is the fourth comedy album made by the Firesign Theatre for Columbia Records, [4] released in August 1971 on standard stereo vinyl LP, and Quadraphonic LP and 8-track tape. It was nominated for a Hugo Award for Best Dramatic Presentation in 1972 by the World Science Fiction Society.
The title comes from a line spoken by one of the two main characters, and contains a pun on the term computer bus since the story parodies then-developing computer technology. It also parodies Walt Disney parks.
This album, like its predecessor Don't Crush That Dwarf, Hand Me the Pliers , is one complete narrative that covers both sides of one LP. The first LP side is 20 minutes 51 seconds, and the second side is 18 minutes 7 seconds.
Side one starts with an audio segue from the end of Don't Crush That Dwarf, Hand Me the Pliers: the music box tune played by the ice cream truck chased by George Tirebiter is heard approaching, played this time by a bus announcing a free Future Fair, which it touts as "a fair for all, and no fare to anybody". A trio of computer-generated holograms pop up outside the bus: the Whispering Squash (Phil Austin), the Lonesome Beet (David Ossman), and Artie Choke (Peter Bergman), singing "We're back from the shadows again" to the tune of Gene Autry's "Back in the Saddle Again". They encourage the onlookers to attend the fair, which the Beet describes as "technical stimulation" and "government-inflicted simulation". Then they disappear "back to the shadows again". A young man named Clem (Philip Proctor) boards and takes a seat next to Barney (Austin), an older man who identifies himself as a bozo (A person with a large nose that honks when squeezed. FST later revealed that "bozo" is an acronym for "brotherhood of zips and others," and that a "zip" is the type of person who enjoys doing their own taxes.); he says, "I think we're all bozos on this bus." After a stewardess tells the passengers to prepare for "a period of simulated exhilaration", broadcaster Floyd Dan (Bergman) tells them they are riding the rim of the Grand Canyon, the floor of which is five thousand feet below. The "bus" is apparently some sort of hybrid vehicle that can travel on the ground, yet turn into a jet plane which takes off for a "flight to the future".
As Clem and Barney disembark at the fair, a public address announcer directs all bozos to report for cloning, so Barney leaves Clem. The Lonesome Beet pops up and recommends Clem visit the Wall of Science. He boards a moving walkway taking him to the exhibit, which opens with a parody of religious creation myth and segues into a brief overview of history from ancient times to the emergence of mankind, then to the modern scientific era. Two scientific discoveries are reenacted: Fudd's First Law of Opposition ("If you push something hard enough, it will fall over"), and Teslicle's Deviant ("What comes in, must go out"). Then recordings of selected audience members' reactions to the future are played.
Next, the Honorable Chester Cadaver (Ossman) addresses the audience, and relates a meeting with Senator Clive Brown (Bergman), who demonstrates a "model government" consisting of a model train-sized automated maze of bureaucracies which terminates with an animatronic President as the output bus, whom Brown says everyone asks questions. When Cadaver asks Clem to state his name, he stammers slightly and says "Uh, Clem", and the central computer permanently identifies him throughout the park as "Uh, Clem". As side 1 closes, Clem is directed onto another moving walkway which takes him in to see "the President".
Side two opens with the exhibit of "the President" (Austin), who sounds like Richard Nixon. Each visitor is asked to speak their name, which is then played back to appear as if the president is addressing them by name. A black welfare recipient named Jim (Bergman) relates his family's harsh urban living conditions and asks the President where he can get a job. The President responds with a vague, positive-sounding reply only remotely related to the question and completely unrelated to Jim's concerns, and Jim is given the "bum's rush". When it is Clem's turn, he puts the President into maintenance mode by saying, "This is Worker speaking. Hello." The computer responds with the length of time that it has been running. Clem then gets access to Doctor Memory (the master control), and attempts to confuse the system with a riddle: "Why does the porridge bird lay his egg in the air?" This causes the President to shut itself down. As Clem leaves, an Hispanic visitor is heard to say "He broke the President!".
Clem meets up with Barney back on the Funway. They encounter sideshows such as astronaut Mark Time (Ossman) recruiting a crew for a trip to the Haunted Space Station, and Hideo Nutt's Bolt-a-drome, where fairgoers are invited to participate in boxing matches with electrical appliances such as water heaters and toasters. Public announcers repeatedly page "Mr. Ah Clem" to come to the "hospitality shelter", and Artie Choke pops up again, programmed to take lost children back to their parents. He says he will send Deputy Dan to take Clem to the hospitality shelter. Clem then uses Artie to create a clone of himself which enters the system for another confrontation with Dr. Memory. He repeats his porridge bird riddle, which the computer struggles with several attempts to parse, finally mangling it into "Why does the poor rich Barney delay laser's edge in the fair?" Clem succeeds in confusing the computer into contradicting itself, causing a total crash which ends the fair with a display of fireworks.
The entire experience is then revealed to be a vision seen in the crystal ball of a Gypsy doctor (Proctor) telling Barney his fortune. After Barney leaves, the Gypsy plots with his partner (Bergman) to make a quick escape after their last client, a sailor.
The fair rides and exhibits are similar to those at Disneyland and the 1964 New York World's Fair.
Clem is one of the first "computer hackers" mentioned in pop culture, and his dialogue with the fair's computer includes messages found in the DEC PDP-10, a popular mainframe at the time. (Some of the lines are error messages from MACLISP.) An identification followed by the word "hello" initiated an interactive session on contemporary Univac, General Electric, and university timesharing systems. Many of the things the computer said were based on ELIZA, a computer program which simulated a Rogerian psychotherapist. [5] For example, the phrase Clem used to put The President into maintenance mode, "this is Worker speaking," is based on the fact that the user could type "worker" at Eliza's command prompt, and Eliza would then display the command prompt for the Lisp software environment in which Eliza ran. And if the user neglected to end a statement or question to Eliza with a punctuation mark, Eliza's parser would fail, displaying the message "Unhappy: MkNam" to indicate that a function called "MkNam" was failing. The President said the same thing, pronouncing it "unhappy macnam."
The album was nominated by the World Science Fiction Society in 1972 for the Hugo Award for Best Dramatic Presentation. [6]
This album inspired Ivan Stang's 1973 film Let's Visit the World of the Future . [7]
Apple's Siri used to respond to "This is worker speaking. Hello." with "Hello, Ah-Clem. What function can I perform for you? LOL." [5]
This album was originally released simultaneously on LP, Cassette, SQ Quad LP, and Quad 8-Track.
It has been re-released on CD at least three times:
The Firesign Theatre was an American surreal comedy troupe who first appeared on November 17, 1966, in a live performance on the Los Angeles radio program Radio Free Oz on station KPFK FM. They continued appearing on Radio Free Oz, which later moved to KRLA 1110 AM and then KMET FM, through February 1969. They produced fifteen record albums and a 45 rpm single under contract to Columbia Records from 1967 through 1976, and had three nationally syndicated radio programs: The Firesign Theatre Radio Hour Hour [sic] in 1970 on KPPC-FM; and Dear Friends (1970–1971) and Let's Eat! (1971–1972) on KPFK. They also appeared in front of live audiences, and continued to write, perform, and record on other labels, occasionally taking sabbaticals during which they wrote or performed solo or in smaller groups.
Don't Crush That Dwarf, Hand Me the Pliers is the Firesign Theatre's third comedy album, released by Columbia Records in July 1970. In 1983, The New Rolling Stone Record Guide called it "the greatest comedy album ever made". It was nominated for a Hugo Award for Best Dramatic Presentation in 1971 by the World Science Fiction Society. In 2005, the US Library of Congress added the album to the National Recording Registry and called the Firesign Theatre "the Beatles of comedy."
Waiting for the Electrician or Someone Like Him is the first comedy album recorded by the Firesign Theatre. It was originally released in January 1968 by Columbia Records.
Give Me Immortality or Give Me Death is a comedy album by the Firesign Theatre that was released in 1998 on Rhino Records. Its main theme satirizes 1990s radio formats and public hysteria over the Y2K programming bug. Give Me Immortality... is the first of the Firesign Theatre's Millennium CD trilogy We're Doomed, which includes Boom Dot Bust and Bride of Firesign.
David Ossman is an American writer and comedian, best known as a member of the Firesign Theatre and screenwriter of such films as Zachariah.
Everything You Know Is Wrong is the eighth comedy album by the Firesign Theatre. Released in October 1974 on Columbia Records, it satirizes UFO conspiracy theories and New Age paranormal beliefs such as Erich von Däniken's Chariots of the Gods and claimed psychic Uri Geller, which achieved wide public attention by that time.
The Tale of the Giant Rat of Sumatra is the seventh comedy album produced by the Firesign Theatre and released in January 1974 by Columbia Records. It is a send-up of a Sherlock Holmes adventure, "The Giant Rat of Sumatra", which was not written by Sir Arthur Conan Doyle but was referenced in his Holmes tale, "The Adventure of the Sussex Vampire", written in 1924.
The Firesign Theatre's Box of Danger: The Complete Nick Danger Casebook is a four-CD boxed set of most recorded material by comedy group the Firesign Theatre containing their fictional character Nick Danger, portrayed by Phil Austin. Danger is a parody of the hard-boiled detective genre, and is often announced as "Nick Danger, Third Eye", a parody of the term private eye. Danger stories involve stereotypical film noir situations, including mistaken identity, betrayal, and femme fatales. Danger originally appeared on the 1969 album How Can You Be in Two Places at Once When You're Not Anywhere at All, and was reprised in various live shows, radio appearances and albums, including the 1979 Nick Danger: The Case of the Missing Shoe, 1984 The Three Faces of Al, and 2001 The Bride of Firesign.
In the Next World, You're on Your Own is the ninth and last comedy album recorded by the Firesign Theatre for Columbia Records. It was released in October 1975.
Dear Friends is the Firesign Theatre's fifth album to be released on Columbia Records. It is a compilation album, collecting the Firesigns' choice of the best comedy sketches from their nationally syndicated radio program produced from September 1970 to February 1971.
Not Insane or Anything You Want To is the sixth album released by the Firesign Theatre on Columbia Records. It was released in October 1972 and includes some material that was recorded in the studio as well as some material that was recorded before a live audience. The full title is listed on the spine of the record album as Not Insane or Anything You Want To. The abbreviated title Not Insane appears on the front of the album cover, while Or Anything You Want To appears on the back cover. It is usually referred to simply as Not Insane.
Forward Into the Past is a 1976 compilation album by the Firesign Theatre. It presents the "Greatest Hits" from their nine Columbia albums and includes two tracks that were previously released only on a single.
Just Folks... A Firesign Chat is a 1977 comedy album by the Firesign Theatre. The material is based on previously unreleased material from their 1970–1972 radio shows Dear Friends and Let's Eat!. It was the only record the group made under a new contract with Butterfly Records, after the cancellation of their ten-year Columbia Records contract.
The Firesign Theatre's Big Book Of Plays is a collection of transcriptions written by The Firesign Theatre for the title tracks of each of their first four albums. The book also contains some introductory material that is serious as well a few pieces that parody introductory material. Photos of the group—childhood photos, casual snapshots, and full-costume publicity shots vaguely related to the written material—are included. The book concludes with "Lt. Bradshaw's Secret Indentity [sic] Roster" which indicates which member of the group performs each major role. Some of the material from the group's first four albums that was not included in this collection can be found in the 1974 book, The Firesign Theatre's Big Mystery Joke Book. A later printing of the "Big Book of Plays" has a bright yellow cover, with different cover illustrations than the original shown here.
Fighting Clowns is a 1980 album by the Firesign Theatre. It is unique among Firesign Theatre albums because it is primarily made up of songs rather than the group's usual audio theater or sketch comedy pieces. Many of the songs on this album were recorded live in front of an audience while some of the songs and much of the linking material was recorded in the studio. Cover artwork was done by Phil Hartman.
Radio Now Live is a 2001 comedy album by the Firesign Theatre, recorded from a live performance on a 1999 West Coast tour. Its main concept is based on material from Firesign's studio album Give Me Immortality or Give Me Death, but also contains material based on older albums How Can You Be in Two Places at Once When You're Not Anywhere at All; Don't Crush That Dwarf, Hand Me the Pliers; I Think We're All Bozos on This Bus; and Anythynge You Want To.
How Time Flys is a comedy album written by David Ossman and featuring the voice talents of all four members of The Firesign Theatre plus several other contributors. It was originally released by Columbia Records in 1973.
Nick Danger is a fictional character created by the comedy group The Firesign Theatre, portrayed by Phil Austin. Danger is a parody of the hard-boiled detective, and is often announced as "Nick Danger, Third Eye", a parody of the term private eye. Danger stories involve stereotypical film noir situations, including mistaken identity, betrayal, and femmes fatales. Danger originally appears on the 1969 album How Can You Be in Two Places at Once When You're Not Anywhere at All, and is reprised in the 1979 Nick Danger: The Case of the Missing Shoe, 1984 The Three Faces of Al, and 2001 The Bride of Firesign.
He's based on the [Dashiell] Hammett Sam Spade character, but as I got more into writing him over the years, he's become much more like [Philip] Marlowe. I love [Raymond] Chandler's writing.
Back From the Shadows was the twenty-fifth anniversary reunion tour of the comedy group the Firesign Theatre, performed at twenty cities across the United States in 1993. A live video CD recording of three performances was released as the group's nineteenth album in 1994 by Mobile Fidelity Sound Lab.
Duke of Madness Motors: The Complete "Dear Friends" Radio Era is a book and data DVD set collecting the complete works of comedy group the Firesign Theatre's 1970s radio shows Firesign Theatre Radio Hour Hour, Dear Friends, and Let's Eat.