Sock'em Boppers

Here's an idea: why not round up the kids for some good old fashioned fistfight practice? Don't worry, we'll give them a pair of comically giant inflatable boxing gloves, first. These youngsters won't have a mark on them after a few rounds in the imaginary ring, but they will get a taste for brutal violence. Sounds like a wise parenting purchase, no?

It's no wonder parent watchdog groups weren't crazy about these blow-up fighting gloves; they may have prevented us from getting too banged up, but they did, after all, promote violent fighting. What message, they asked, were we sending our kids in buying them a product whose sole purpose was to inflict simulated bodily harm on their friends and family? Because they didn't fully understand the lingering impact of a rhetorical question, they answered with, "A pretty terrible one." Not the subtlest of approaches, but hey, they got their point across.

These naysayers, like always, were hell-bent on sucking all of the fun (and in most cases, the inflatability-dependent air) out of a toy we legitimately enjoyed. At a time when parents' choices for toys for their children were increasingly dependent on the presence of some underlying educational value, Sock'em Boppers were not exactly a beacon of enlightenment emanating from the Toys 'R Us shelves.

To be fair to those protesting the toy's violent aim, the pro-Sock'em Boppers arguments were pretty flimsy. Some argued they promoted physical fitness, which might be true but doesn't build their case particularly well. That's like saying, "Well, they might have some aerobic benefit to ordinarily sedentary kids...but only if they really go at it." Others claimed that kids would probably resort to roughousing anyway, so why not give them the luxury of a little padding. It was a small price to pay to save a trip or two to the Emergency Room, right?



Foremost, though, these things were fun. What other reason do you really need to endorse a toy? There was something uniquely exhilarating about beating the crap out of our friends and siblings with no foreseeable consequence. It's no secret that kids have an excess of expendable energy; what better way to release it than in a violent show of fistfighting glory?

The Sock'em Boppers advertisements kept it light, calling them "more fun than a pillow fight." This was, of course, a totally unfounded claim. They never backed it up with empirical research illustrating the perceived fun quotient of Sock'em Bopping to pillow fighting. Technically, this was just their theory, and a convenient one at that. After all, our houses were bursting at the drywall seams with pillows. We could fight with those for free. For these babies, though, our parents would have to shell out ten or fifteen bucks to ensure our hours-enduring amusement.

The marketing strategy behind these was pretty solid. You couldn't buy just one pair of Boppers. Well, yes, technically the store would let you out its doors without sending the Sock'em Bopper-directed legal enforcers after you, but a single pair wouldn't do you much good. Unless you intended for your kid to punch himself in the face for an indeterminate period of play time, you'd have to invest in at least one more set.

What they didn't warn us about, though, was the fact that these oversized air-laden hand guard were susceptible to pop at any moment. It's all fun and games until some kid busts through his Bopper and is left punching his little brother in the face unprotected. I'm not sure away, but fist to face contact is a pretty painful experience. In theory, we were all just one leaky Bopper away from an assault charge.

Danger aside, these gloves had the power to amuse and engage us for hours at a time. We could beat up parents, siblings, friends. The possibilities were endless and the potential was great. Their contribution to the future aggressiveness of impressionable young children was a small price to pay for a toy that could both entertain and wear out an overly energetic and generally exhausting specimen of child. It may not have been parenting at its finest, but it a tradeoff many of our parents were willing to concede in the name of their sanity.



Sock'em Boppers were so much more than just their original boxing glove line; their product catalog include all sorts of other watered-down versions of generally dangerous weapons. No need to worry if fists aren't your weapon of choice: Sock'em Boppers has got you covered with a full array of bop-worthy products. Boxing not your thing? Why not enjoy a round of fencing with our inflatable Sock'em Swords? How about a punching bag? Novelty fist with punchball attached? Our pals at Sock'e thought of everything. Well, everything to amuse violently inclined youth, that is.

Formerly known as Socker Boppers, these rebranded inflatables had been around for dozens of years ebfore their resurgence in the 90s. Socker Boppers were released in the early 70s, meaning these things had been polluting (and possibly rattling from impact) young brains for years by the time we got to them. Boppers are time tested, and apparently they passed. In your face, naysayers. With a Sock'em Bopper, though. So, you know, it won't hurt. That's the whole idea.

These toys are still around, so you still have time to invest in a pair or two if your parents deprived you some much-needed aggression release in your youth. Much like the Slip n' Slide, the potential risk of bodily harm fell a distant second place to the far more compelling fun factor. After all, what fun are toys without a slight injury risk factor? There's a reason they make kids so durable: so they can be punched in the face repeatedly with inflatable boxing gloves and still be asking for more.

Great 90s Movie Cameos

There's something special about an unexpected cameo movie moment; watching celebrities like Neil Patrick Harris or Mike Tyson play humorously warped versions of themselves in Harold and Kumar or The Hangover tickles our collective fancy in a way that few comedic situations can. Whether the celebrity is playing a version of themself or another bit part entirely, the element of surprise is usually enough to bring us on board with the choice and applaud the creativity and wit of the casting team.

It's the old It's a Mad, Mad, Mad World trick. For those of you out the who never saw the classic 1963 comedy, it featured cameos from what seemed to be every comedian living at the time of filming. It seemed their attitude was if one guest star can bolster the humor, hundreds will make it rip-roaringly hilarious.

There's some debate over what constitutes a cameo. Certainly playing yourself will get you a bona fide cameo credit, but what about appearing onscreen in a small unpublicized role? The jury's not quite in on that one, but for the sake of enjoying these moments at face value wihtout nitpicking over pop culture afficionado sense of superiority-building details, we'll include them in our list.

For your convenience, cameos have been arranged by arbitrary types. These aren't industry standard labels; in fact, I just made them up. That said, you're welcome to use them as you will in everyday conversation...but only if you end that conversation with a hearty endorsement of www.childrenofthenineties.com. You've got to say the whole URL or else face some serious copyright infringement allegations. Sorry, I looked into it. The regulations are airtight.



The "In" Joke

This type of cameo usually has some sort of underlying punchline that's not overtly stated, but it amusing if you know what you're looking at. If done well, it's meta-comedy at its finest. There's a lot of potential for flopping here, so any movie that pulls off the trick deserves some major accolades.


Martin Sheen in Hot Shots Part Deux



This is pure genius on so many levels. The reference to Martin Sheen's roles in Platoon and Apocalypse Now! combined with the shout out (literally) for their joint film Wall Street. This is the ultimate meta-reference cameo. It just goes to show, when it works, it works.


Don Ameche and Ralph Bellamy in Coming to America



Okay, okay, so sue me; this isn't technically from the 90s, but I love it so much that 1988 will have to be close enough to make the list. Also, the quality of the clip is atrocious, but it's something you can willingly overlook in the name of good crossovers. Ameche and Bellamy reference their roles as Randolph and Mortimer in the earlier Murphy vehicle Trading Places. The cameo is just brief and fleeting enough to be likable.



The Out-Of-Left-Field Whammy

These appearances present a picture totally and inexplicably out of sync the actor or celebrity's perceived character. They're not playing themselves (see "The Extras Approach" below), but they're playing a character as whom we wouldn't have thought to cast them.


Bob Saget in Half Baked



For those of us unfamiliar with Saget's raunchier stand-up, this was the ultimate out-of-left field whammy. Danny Tanner would never say this. Interestingly enough, the line is dubbed for cable TV as Saget saying he sucks "feet" for coke. That actually just made it so much worse.


Dave Letterman in Cabin Boy



I'll say up front, this is not a great movie. It's not even a good movie. This cameo, in fact, is probably Cabin Boy's only major redeeming feature.

Dave Letterman as...salty fisherman? It just doesn't add up. His acting is nothing to write home about, but there's something legitimately funny about this scene. Unfortunately, that's something of an anomaly for Cabin Boy. Writer and star Chris Elliot was a former writer on Letterman's show, so it's only fair for him to give his old boss his due by letting Letterman call him a "fancy lad."


Mel Gibson in Fathers' Day

It's official...no footage of this cameo exists online in any visual aid-style format. You'll just have to watch the movie for yourself.

Well,at least it was out of left field when we still knew Gibson as a heartthrob leading man and not a religious enthusiast with occasional tendencies to spew anti-Semitic remarks and refer to waitresses as "Sugar Tits." I believe Gibson is credited as something like "pierced guy" in this movie.


Elvis Costello in Spice World


Actually, make that Elvis Costello, Elton John, Meatloaf, Bob Geldof, Anthony Hopkins...what exactly are all of these respectable people doing taking bit parts in Spice World? It baffles the mind. Perhaps they were all just serious supporters of girl power.


Alanis Morissette in Dogma



This technically could also be characterized as The Big Surprise, particularly because it comes close to the end of the movie. The Out-of-Left-Field Whammy on this one is that apparently Kevin Smith thinks the celebrity who best exemplifies godliness is Alanis Morissette. It's a little bit ironic, don't you think? By her standards, I mean. Not in the actual sense of irony in its proper usage.


The Big Surprise

We don't know why exactly they're there, but we're thankful they showed up. This sometimes requires a double take to determine the star's identity, usually because either a)they are in disguise b)their appearance was unadvertised and unexpected or c) it is really, really unlikely that they would agree to this.


Billy Crystal in The Princess Bride



Some might argue this is more of a small role than a cameo, but Crystal's disguised appearance tilts my judgment more toward a Big Surprise cameo.


Charleton Heston in Wayne's World 2



Really? Charleton Heston in Wayne's World 2? Really?


Christopher Walken in Pulp Fiction



This is a great movie and a great scene. Walken owns this cameo, if you want to classify it as such. It's just one of the best. Short but utterly memorable.


Alec Baldwin in Glengarry Glen Ross



Remember when Alec Baldwin used to play serious roles? There's some debate as to whether his brief seven minute appearance in the film constitutes a cameo or just a bit part, but there's a general consensus about his skill and adeptness with the role. Geez, he was skinny here. To his credit, though, he's still got that hair.



The Extras Approach

If you've never seen the HBO series Extras, here's a quick run-down of the premise. A celebrity plays a twisted tongue-in-cheek version of him or herself that doesn't usually mesh with their public persona.


Billy Idol in The Wedding Singer


I can only hope that if I ever get bumped to first class, Billy Idol will introduce me over the mike. He's such a badass. Idol still pulls off his 80s look so many years later. Well, sort of. At least as much as he did the first time around.


Bob Barker in Happy Gilmore



I always knew Barker had it in him. Barker beats up Happy Gilmore when they're unfortunately paired for a celebrity golf tournament, and let me tell you, it is awesome. Bob Barker is such a sport for agreeing to this completely ridiculous cameo.


Brett Favre in There's Something About Mary

Geez, Favre has been around a long time. I used to have a huge crush on him, which was taboo for me as a Vikings fan. Luckily, now I have a legitimate license to swoon over this scene. Favre is actually pretty funny, here, too. Sometimes these athlete cameos fall flat, but he works it smoothly.


The Good Sport

Whether you're the subject of a biopic or forced to endure a questionable remake of a film you starred in years earlier, these lesser-noticed cameos prove their subjects to be good sports about the whole ordeal.



John Lovell in Apollo 13



I couldn't find a better still or video clip, but the back of that navy captain's head is the real astronaut Mr. John Lovell himself, congratulating his fictional biopic self (Tom Hanks). After all he went through, he absolutely deserves some screen time. And, you know, a whole movie detailing the failure of his mission. That would work, too.


Erin Brockovich in Erin Brockovich


The real Erin Brockovich appears in her eponymous film as waitress wearing a nametag bearing the name "Julia." Get it? Because Julia Roberts is playing her? What will these writers come up with next?


Larry Flynt in People vs. Larry Flynt


Yep, that's Flynt himself at 1:01, filling in a cameo as the judge in the movie about his own life. Like most Good Sport cameos, it's a brief one, but it's a respectable nod to the man himself.


These scenes won't usually make or break a movie, but they do have the power to entertain us on a totally unexpected level. A cameo is like a little surprise party; you go in expecting things to be business as usual, and then the unforeseen kicks in and spices it up. Whatever the style or reason behind these bit roles, you've got to appreciate the celebrity's willingness to play along. More often than not, their few minutes onscreen will be the ones we go on to remember.

Friends

Rarely does a sitcom become as pervasive and persistently popular as Friends. It maintained a surprisingly consistent level of quality and popularity throusghout its ten-year run, particularly for a show that was based on such a simple premise. As the name implies, the subject matter in question was, put simply, friends. Apparently all it takes is a group of eclectic and mismatched personality types with a penchant for local coffee houses living in unrealistically mammoth and well-decorated Manhattan apartments to hold our attention. Who knew?

Friends's large ensemble cast was a great credit to its success, utilizing six then lesser-known twenty-something actors as principals with relatively equal screen time. So many sitcoms gave us a main character or two with a smattering of conveniently prominent or absent sidekick roles, so it was refreshing to see such a strong balance of multiple main characters. Conceived by David Crane and Marta Kauffman in the early 90s, they sought to explore the lives of young adults making it on their own for the first time in a fast-paced New York setting. Kauffman and Crane teamed up with producer Kevin Bright to develop a show that captured a relatively universal experience of finding oneself post-college.



Tentatively (thankfully) entitled Insomnia Cafe, the trio pitched the show to NBC in late 1993. NBC liked the idea, so the three went to work on their pilot now somewhat less tentatively called Friends Like Us. They also liked the pilot, investing in the series that the creators now called Six of One. Who knew a show could cycle through so many terrible working titles before even going into full-scale production? Especially considering the final choice for title ended up being such a no-brainer. As Chandler Bing might say, "Could it be any simpler?"

That level of simplicity was what sold not only NBC but a vast proportion of the sitcom-viewing public on this fledgling show. The creators' original pitch for show described it as being "[...about sex, love, relationships, careers, a time in your life when everything's possible. And it's about friendship because when you're single and in the city, your friends are your family," giving the premise an open-ended array of endless scenarios, couplings, and experiences for its main characters.

As so many of us children of the 90s are just now coasting through that stage of our lives that Bright, Kauffman, and Crane envisioned as the universal connecting experience to bolster the show's appeal, it's strange to think so many of us were major fans of the show at a point in our life that in no way intersected with that of the major characters. At the time of its premiere in 1994, I was only nine years old, yet somehow my friends and I were convinced we found the show hilarious. More likely is that we initially found it a little bit confusing; a vast proportion of the humor and situations certainly must have gone straight over our heads. It was just so likable, though, that we couldn't help getting caught up in the Friends fervor,

At the time, Ross, Rachel, Monica, Chandler, Phoebe, and Joey seemed like such grown ups to me and my peers, so it's always odd catching an early episode in syndicated rerun and realizing that I'm possibly now as old as or older as they were then. If you never got into it or haven't seen any of the early seasons in a few years, you might want to invest a few hours in doing so. There's a reason the show became such a quick hit: the producers nailed their intended delivery of that universal twenty-something experience. Their pitch about your friends being your family may be a little cheesy, but it also rings true for so many of us at the stage in our life between extended adolescence and responsible parenthood,.

So much of the show's charm lay in the quirkiness and depth of its characters; without their idiosyncratic personalities and strong performances from the cast of comically gifted actors, there would be no show. The majority of the action focused on our six principal characters:

Chandler Bing



The One With All The Sarcasm. Chandler is the resident wise-cracking smartass, always quick to issue a cutting quip or a self-deprecating witticism. He's wound up pretty tightly, though his eventual marriage to Monica gave him a more playful side.



Phoebe Buffay



The One With The Offbeat, Out There Personality. Phoebe not only marched to the beat of her own drummer, she seemed to have invented a new style of drumming entirely. Her singer/songwriter escapades at the local Central Perk coffee shop feature gems like "Smelly Cat", which is indeed about a cat with a less-than-appealing odor. I suppose her eclectic early years on the street could be the source of her general oddity, so all in all she turned out pretty okay.

Rachel Green



The One With the Semi-Reformed Princess Behavior Tendencies. We first meet Rachel in the debut episode as a rain-soaked bride who left her groom at the altar, claiming she was getting married for all the wrong reasons. Once something of a spoiled brat, her reconnection with childhood friend Monica sets on her on, if not a totally straight path, at least a less wavy and more grounded one. Rachel's on-again-off-again with Ross is a major plot point throughout the show's ten-year lifespan.


Monica Gellar



The One With The Serious Neuroses. Monica is as obsessive compulsive and anal retentive as they come, so it's a good thing Courtney Cox managed to make her so charming. The show had originally wanted to cast Cox as Rachel, but she preferred the Monica role and convinced them she could make it her own. Monica is Ross's sister, Rachel's childhood friend, and Chandler's eventual wife. Oh, and she also used to be fat--that's one of the show's favorite retrospective punchlines, often through fat suit technology.


Ross Gellar



The One With the All the Lovable Nerdiness. It takes a special kind of endearingly intellectual guy to not only choose a career path in paleontology but also to bore his friends with the details. Ross's first wife turned out to be a lesbian, though the truth didn't come out until after she became pregnant with his son. Ross excels in karate, is a sometime-monkey daddy, and has compelling evidence that he and Rachel were indeed on a break at that crucial juncture in their relationship.


Joey Tribbiani



The One With Limited Intellectual Capacity. It's okay, he gets all the ladies, so it's really sort of a trade-off. All he has to do was issue a signature, "How you doin'?" and the women were putty in his hands. Joey and Chandler were roommates for a bulk of the sitcom's run, with the two engaging in all sorts of comedic apartment-sharing situations. He is a sometimes-working actor, most notably for his role as Dr. Drake Ramoray on Days of Our Lives. Joey was the only one to get his one spin-off, though I think we all know how that turned out.

Friends kept the writing sharp over its extensive ten-year run, a stretch that would leave many lesser sitcoms grasping at cop-out storylines. That's not to say Friends didn't use its fair share of guerrilla ratings tactics: inane plot twists, surprise couplings, and most notably the end-of-season leave-us-on-the-edge-of-our-seats-and-stick-us-with-three-months-of-reruns-why-don't-you cliffhangers. Those things were brutal. What's that? Ross said Rachel's name instead of Emily's at his wedding? And now we have all summer to contemplate the repercussions? Awesome. I was hoping to work on my tan and read the classics, but now I'm stuck pondering this one for all of my waking hours until it can be resolved in the fall season premiere.

It was all part of the show's signature charm, though. Sure, there was a fair amount of reliance on gimmicks and well-worn sitcom territory, but the cast chemistry and smart writing brought in all together in a new way. If you flip on your TV at any given time of evening or night, you're pretty likely to find Friends still playing on at least three or four different channels in multiple timeslots. It's perseverance in syndication speaks volumes to its impact and success. More importantly, though, it's funny. When so few sitcoms actually make us laugh, it's a legitimate claim to fame to be The One With All of the Good Jokes.