When most people start collecting little rubber and plastic figures, part of their reasoning for buying tiny toys often stems from the fact that these collections don’t take up a lot of space. You can fit hundreds of tiny figures in a shoe box if you want to, and they don’t take up a lot of shelf space if you choose to display them (and why wouldn’t you!). Beyond their ability to occupy very little space, most little figure toy lines have dozens if not hundreds of designs to collect, as well as tons of color variations. They also tend to come in all sorts of wacky and wonderful character designs, which make little rubber figure collecting very popular with both kids and adults.

One of the more popular little rubber figure lines from my childhood was Monster in my Pocket. They came out in 1990, and found success all over the world. The line consisted of a bunch of small, solid colored rubber monsters based on popular monsters from international folklore and popular culture. Everything from Frankenstein’s Monster to Baba Yaga are represented in the line. If you don’t remember Monster in my Pocket yourself or you want to know more, here is a quick pictorial crash course on the line.

A Sampling of Series 1 Monster in my Pockets.

A Sampling of Series 2 Monster in my Pockets

A Sampling of Super Scary Monster in my Pockets

U.K. Kellogg’s Sports Monsters in my Pocket

A Sampling of Monster in My Pocket Wrestlers

Now that you have met some of the Monster in my Pocket gang, I can get to the main focus of this article. Clearly I have spent a little bit of time collecting Monster in my Pocket. The photos above represent a small fraction of my collection. Monster in my Pocket were made by Matchbox and were sold in retail stores everywhere in the country. They were popular and cheap to produce, so they naturally found their way into promotional tie-ins with restaurants and food products. Most of the Monster in my Pocket figures that were produced for product tie-ins were Series 1 figures cast in different colors than the red, green, yellow, and purple seen above. Many were produced in Series 2 neon colors, with occasional oddities in slightly different shades of bright colors, or a dark forest green color.

Monsters in strange colors.  These Monster in my Pockets were packaged with food tie-ins and other Monster in My Pocket products other than the main figure lines.

Monster in my Pocket had an American cereal tie in with Nabisco Frosted Wheat Squares. They also had a promotion with Bob’s Big Boy.

The tie in that is really the point of this article is a promotion run with Spaghetti-O’s. Every kid loves Spaghetti-O’s, and what could be better than getting a free toy with your purchase? Of course they didn’t put a Monster in my Pocket in the actual can of Spaghetti-O’s. That would make a mess. You had to mail away to get them. Since kids are impatient, and Spaghetti-O’s needed to get you excited to have to wait to receive your toys, they had to find a big way to get kids attention. Behold the inflatable Spaghetti-O’s Monster that is the size of an actual child!

This inflatable display is based on a Series 2 monster design, Dryad. I wouldn’t call this figure the obvious character choice that kids could relate to, but it kind of looks like it could be made out of spaghetti when you color it red-orange like this, so I am going to go along with Spaghetti-O’s decision making process on this one.

When this 4ft tall pile of inflatable awesomeness found its way onto eBay several years ago I made it my mission to make him mine. In a collection that could otherwise fit in a shoe box, he is certainly a stand out. I have always liked store displays, and when I can find a display based on something I specifically collect it becomes a must own for my collection. I only wish that my local super market had had one of these guys on display when I was a kid. I am pretty sure a Monster in my Pocket taller than I was would have made my day. It sure made my day when I found one as an adult.

The post Spaghetti-O’s Monster in my Pocket Display: One Monster That Won’t Fit In Your Pocket… appeared first on The Collector Gene.

I purchased this skull a few years ago at a Pennsylvania flea market.  I walked into the market with $52 in my wallet, which doesn’t usually go a long way at an antique flea market.  So of course I found this piece in the first booth I went in, and it was priced at $50.  Needless to say, I was frustrated.  I really liked the skull, but buying it would wipe me out before I was even finished my first row of dealers.  We were also going to check a few more flea markets and shops later that day, which made it even tougher to fathom spending all of my money immediately, especially on an object I knew nothing about.

At first I left it on the table and walked away figuring I would probably go back to buy it after I made sure that there was nothing I wanted more at the flea market.  However, a few minutes later and about half way down the second row of the market, I realized that I didn’t want to risk it.  I really liked the skull, and I knew I would be upset if someone else bought it while I was walking around.  The more I thought about it, the more I wanted it.  I cut back to the dealer’s booth again and bought it, and I have had no regrets about blowing all of my money in the first booth I went in at the flea market that day.  There was nothing else I wanted more, and in my opinion this piece would have been hard to top.  A lot of people like to collect what they know, but I find that the objects I tend to like best in my collection are the objects I didn’t know I needed until I saw them.  Some of the fun of collecting, to me, is finding an object you love, and then finding out you love it even more as you learn more about it.  The Le Macabre skull did that for me.

The Le Macabre skull is made out of plaster, with the name of its place of origin, Le Macabre, Meard Street SOHO, stamped into its forehead.  It is just about life-sized, though it is stylized and kind of elongated if you look at the skull from its side.  The back of the skull is flat and hollow, and the eye sockets are hollow as well.  It has a little metal hook imbedded in the plaster so you can hang it on the wall.  The skull is probably from the 1950’s, which is part of what made it appeal to me, and for some reason I like skulls, so it had double appeal.  The damage to his chin was there when I bought him, and even though I could totally restore it myself, I haven’t done it yet.  I don’t know why. Maybe sometimes I like to think that he received his battle scar in some really epic way and it is a part of his history.  He is a very intriguing advertising piece, and the more I learn about him, the more I love him hanging on my wall.

One of the biggest mysteries with the Le Macabre skull is this: How did it end up in the United States?  Le Macabre was a coffee and espresso bar in SOHO London.  This I knew when I bought the skull because it is stamped on his forehead, and I got an original postcard from Le Macabre with it.

I love this postcard.  The imagery is great, and it adds a sense of humor to the skull plaque.   I have it framed and hanging under the plaque on my wall.  None of this, however, explains why these two pieces crossed the pond and ended up in New Jersey, and the more I research Le Macabre, the more I still don’t understand how these two ended up here.

When I first went to research this piece on the internet back when I bought it, the only information I could find out at the time was that Le Macabre existed from the 1950’s through the 1970’s, and that it offered a place for London jazz musicians and rock musicians to perform.  There was also some reference to Orson Wells hanging out at Le Macabre, which I thought was pretty cool.  Le Macabre had coffin shaped tables and skeleton murals on the wall, but there was never any mention of skulls like mine hanging in the bar anywhere.  I was happy to know that Le Macabre played an integral part in the early history of jazz and rock n roll in England, but there were no pictures to help me understand what part my skull played in the bar.  Were there more than one?  Was it for decoration or a souvenir?  For several years I just assumed that I would never fully understand the skull plaque, but that was okay because I liked it, and I liked that it represented pre-British invasion rock and jazz in London.

It wasn’t until late last year that I decided to research my skull again, and a lot more information has surfaced on Le Macabre thanks to two British news reels, one from 1958 and one from 1959, that have since been posted to the internet.

The first newsreel I found in the internet was the 1958 newsreel called “It’s the Age of the Teenager”, and I couldn’t believe what I saw when I watched it.  If you go to the 00.32 minute mark right in the beginning of the film and look behind the bartender’s head, you will see a skull just like mine hanging on the wall!  Mystery solved!  Well, sort of.  If you keep watching through the rest of the “Le Macabre” section of the film, you will see several other skulls hanging up throughout the joint.  Some are used over light fixtures, and others are just hanging on the wall as decoration.  I still can’t believe that these films exist, and that through them I could finally learn in some capacity why my skull plaque exists.  The rest of the film is an interesting look at British teenagers in the 1950’s.  It doesn’t spend too much time in coffee bars outside of Le Macabre, but it is definitely worth watching and kind of funny by today’s standards.  Follow this link to the website for Pathe to watch the filmstrip.

The 1959 strip is in color and called “Look at Life: Coffee Bar”, and it shows Le Macabre at about the 07.01 minute mark.  If you look towards the ceiling in one of the early scenes, you might catch skulls like mine hanging up near the ceiling.  They are covering light fixtures that will make the eyes glow when they are lit.  The whole news reel is a rather interesting look into the rise of the coffee bar in London and its clientele and significance.  It is fascinating and worth watching if you want to learn more about the “coffee craze”.    Apparently there were dozens of coffee and espresso bars in SOHO in the 1950’s, but there were so many that it became difficult for them to thrive with all of the competition.  The “coffee craze” in London was certainly not a point in history on my radar before buying the Le Macabre skull, but this is why I love buying pieces of history that I know very little about until I get them home to research them.  You never know what you will find out.   Look at Life: Coffee Bar

Of course, there are still a lot of things I do not know about this skull and about Le Macabre.  I still don’t know if they sold these skulls as souvenirs or if my skull was salvaged when Le Macabre shut down in the 1970’s.  Are there many other skull plaques still in existence out there?  I have never seen another one, but then again, I am nowhere near London.  If anyone out there has any more information about this skull or Le Macabre itself, please share it on the comments section of this site.  I would love to know any information that I can get.

It is very rare to buy an object with very little information and to find out as much as I did from the Le Macabre skull plaque.  Most of the time you aren’t that lucky, and you are left to speculate as to the purpose of an object.  I certainly never could have dreamed that somewhere along the line someone, and in this case more than one person, would post video evidence of my find in its original context.  When we first started this website almost a year ago, I was planning on writing about the Le Macabre skull. However, because I knew very little about it, I was just planning to post a picture and what little bit I knew in hopes that somewhere along the line a person who knew more about it would comment on the site and I would have an answer.  Then the internet surprisingly answered a few of my questions for me.  It has been a fun ride so far figuring out the origins of Le Macabre and the little piece of it I hang on my wall and look at every day, but I have a feeling there is still a lot to learn.

Article Update:

Hey everyone!  This is the first time I have had the opportunity to update an article after gaining some valuable information on its subject matter from another passionate collector.  Hopefully this will be a trend!  Since posting my article about Le Macabre and my skull I was contacted by Del Fuller, another fan of Le Macabre who was actually fortunate enough to visit Le Macabre before it closed in the 70’s.  He and his friend Keith Ryan have supplied me with the following images of other Le Macabre memorabilia and were generous enough to let me share it with the internet.  Please enjoy!

This is a different post card made to promote Le Macabre.  Skeletons and naked ladies were kind of Le Macabre’s thing.

This is an original menu from Le Macabre.  They used the same image from my postcard on the cover.  It is kind of fascinating to see how they made changes to the menu by just crossing things off and adding other things in.

This is a smaller skull than mine measuring about 3″ by 2 1/4″.  We aren’t quite sure of its practical purpose, but it was used on the tables at Le Macabre and has “Saturday 17^th Jan 1959″ written in ink on the bottom.
We still aren’t sure as to whether they sold Le Macabre skulls or if patrons just swiped them, making Del, Keith, and I lucky enough to own what we have.  Either way, it is a fascinating place, and I am so grateful to learn from other collectors and fans about the objects I am passionate about.

The post The Le Macabre Skull appeared first on The Collector Gene.

Being there two days also gave us lots of time to check out what the other dealers had to sell as well.  When we are selling I get in what I call a “selling mode” which means I’m not much in a “buying mode”.  Nevertheless, I wasn’t about to come home empty handed.

I ended up purchasing this copper lustre pitcher from a fellow dealer for twenty dollars.  It was the second day of the show and he dropped the price from thirty dollars to move it along.  I liked the hand painted decoration on both sides of what appears to be a mother teaching her daughter how to write.  Perhaps it’s supposed to be the Bronte sisters.  I don’t really know but it’s always nice to speculate.

Copper Lustre was made in the Staffordshire district of England from about 1820 to about 1860 when it fell out of fashion.  A lot of it was shipped to the United States at that time so it isn’t unusual to find a piece or two at your local flea market or antique shop.  Unfortunately it seems to have fallen out of fashion with modern collectors as well.  Consequently when you do find it these days it’s really cheap, which is kind of sad.

So why did I buy something that nobody else seems to be buying right now?  First, I like it.  Second, it was cheap.  Third, it can only go up over time.  Fourth, think of the history it represents.

The piece I bought was probably made in a factory at the very earliest stages of the Industrial Revolution.  Perhaps the person who decorated it lived in a cottage with a thatched roof.  Queen Victoria may not have even been Queen when it was made.  It would have been shipped by horse and wagon to a nearby port where it would have been loaded onto a sailing ship and sent to a still young America.  The twenty dollar bill I purchased it with had the picture of Andrew Jackson on it, who could have been our President at the time it was made.  The great westward expansion and Civil War were still to come and slavery had yet to be abolished.

Somehow this little pitcher survived all that in its one hundred and seventy or eighty years without any chips or cracks.  Why wouldn’t I buy it!

There was a saying back in the sixties that went “Do your own thing”.  There is an opportunity out there right now to buy true antiques at affordable prices.  I doubt it will be around forever.

The post Copper Lustre Pitcher – Really Old and Really Cheap appeared first on The Collector Gene.

This all happened a few years ago – 2005 to be exact, when through a happy turn of events Ben was able to secure tickets for all four of us to go to the “Roadshow”.  The bad news was that the closest event to us that year was in Providence, Rhode Island, about a seven hour drive away.  Even so, we weren’t about to pass up the chance to see our favorite show in person.  Since we knew the odds of getting on TV were less than one percent, we pretty much abandoned hope of making it to the little screen.  We figured the best thing to do was to use this experience as an opportunity to find out more about some of the stuff we were having trouble finding values for on our own.  We wanted to hear what the experts had to say.

One of the items we determined to be “Roadshow” worthy was our little Michelin statue. Purchased by Carol in 1987 for the grand sum of seven dollars, she found it at the yard sale of an auctioneer.  I received it as a birthday present that year.   Standing just fourteen and a half  inches tall, this little guy doesn’t look much like the cuter powdered doughnut version of Bibendum (yes, he has a name) that we see in commercials today.  Bibendum’s origins go all the way back to 1898 in France.  The Quaker Oats guy and Aunt Jemima have been around longer but they have human forms, they’re not made out of, well,  tires after all, nor do they smoke, drink and dance with women in their early ads either!  Leave it to the French to have an advertising icon with a true joie de vie!  Indeed, Bibendum, by the way, is Latin for “drink to be done”!  He was sort of the bad boy of early advertising icons!  Like all bad boys, however, that made him kind of cool.

We arrived at the Rhode Island Convention Center at about 8:30 that June morning and were greeted at the door by volunteers wearing light blue “Antiques Roadshow” polo shirts who directed us to go up the stairs and to the end of the ever growing line.  The line moved quickly, however and soon our tickets were checked and we each showed our items to a couple of ladies who determined which appraisers we would each see.  The Michelin Man earned me a ticket to the “collectibles” line which was understandably among the longest there.  In about only fifteen minutes or so though, I found myself face to face with Gary Sohmers (the guy with the white ponytail) who looked at my little tire guy and determined that Noel Barrett (at the adjacent toy table) would know more about it than he.  Suddenly there was Noel Barrett holding my little French advertising icon in his hands.  They seemed to be sizing each other up!  The seasoned dealer, auctioneer and appraiser looking down and Bibendum looking up.  There obviously was a bond forming.

Noel Barrett (the other guy with a ponytail by the way) then motioned that I come over to the toy table and have a seat behind the appraisers desk while he contacted his producer.  Holy cow, he wants to put us (mainly Bibendum) on TV!  I motioned for the rest of the family to join me and nobody seemed to mind all of us sitting there watching all the activity before us.  We also met a nice lady from Maine with her doll furniture, who was also waiting to talk with the producer.  She would end up on TV also.

Eventually the producer (Marsha Bemko) came over and talked first to the nice lady from Maine and then to me.  After a few question I was asked if I would like to be on TV and escorted to the “green room”.  The green room wasn’t actually green but was a separate area partitioned off by curtains.  There were several long tables by which to sit and wait your turn.  In each corner was a monitor showing the live raw feed of what was being taped.  There were also two make-up people.  The appraisers would go to one before their taping and the rest of us went to the other.  While in there we met Mark Wahlberg, who was on his first day on the job as the new host.  He, Noel Barrett, and everyone else was very nice to us.

My turn finally came and out I went holding the Michelin Man.  I was directed to one of the three tables in the center of the room set up for taping.  My microphone was hooked up and soon Noel Barrett joined me and off we went.  My three minutes of fame had begun!  I can’t say that I wasn’t at least a little nervous but I was really enjoying drinking in the experience (that would be bibendum in Latin) and I realized that I was actually living something that I had dreamed about.  One of the advantages that comes with age is that you worry less about what other people may think – even if there’s several million of them.  I had a great time.

I would have to wait eleven months to see if I made the cut that day.  As with most TV shows, the “Roadshow” tapes more material than it uses, so the possibility of ending up on the cutting room floor still existed.  Finally in May, 2006 in hour 2 from Providence, Rhode Island, there I was.  I was on TV.  I had made the cut.  So far my episode seems to run about every two years.  The last time I saw it on TV was last summer (2012).  It became the gift that kept on giving!

As far as the appraisal is concerned, below is the page from the 2010 “Antiques Roadshow” calendar which tells the story.  You can also view the appraisal on the “Antiques Roadshow” website in the archive section – just type in “Michelin”.

Watch the clip and read the transcript here at the Antiques Roadshow website.

By the way, the Michelin Man is still with us.  He wasn’t so valuable that we felt we had to sell him.  Valued at $1200 to $1800 he went right back to his familiar spot in our family room, but now he has a great story behind him.  He was, after all, on the “Antiques Roadshow”.

As for me, it didn’t exactly make me rich or famous.  Many people I knew told me that they saw me on TV but nobody ever asked for my autograph.  The whole experience, however, has only made me fonder of the “Roadshow”.  May it keep going for many years to come.

The post The Michelin Advertising Figure – Rollin to the “Roadshow” with Bibendum appeared first on The Collector Gene.

One of the most popular Krampus collectibles is Krampus postcards.  Krampus became a very popular subject for holiday postcards in the mid-19^th century as postcards became a huge craze in Europe.  Even though Krampus’ job was mostly to punish and scare children, many postcards of Krampus exist that show him reacting more to the sins of adults.  The only card I have obtained (because Krampus postcards can get mighty expensive) is this one from about the 1960’s.  It is a great card with a sort of child Krampus sitting on a pretty girl’s lap.  Clearly, this Krampus is being seen as a more humorous figure than a scary one, and this card was made for adults to send to one another.  Another thing to note about Krampus is that, because he is an Austrian figure, almost everything you find with Krampus on it is in Austrian or German.  “Grub vom Krampus”  translates to “Greetings from Krampus”, and is found on almost every Krampus postcard you find.

This next Krampus piece I have is a paper cutout of the Christmas devil himself.  He is seen here with red skin, but the switches in his hand, the shackles, and the tongue let you know that this is Krampus, not an ordinary devil.  Paper cutouts were used for a variety of purposes in decorating, and there are several designs out there that are being reproduced today.  This piece is one of the more common Krampus pieces that I see, so it is a little bit more affordable for a new Krampus collector.  I found mine in a local shop, but they show up on eBay fairly regularly.

Little fuzzy animals made in Austria similar to this fellow were very popular in the 1960’s, so it isn’t too surprising that they produced a Krampus.  Again, this is a red Krampus, but you still know it is him because he has a little orange tongue sticking out, and switches in his right hand.  This might be the cutest Krampus ever made.  There is nothing imposing about this little guy at all.  He stands about 4 inches tall, which is fairly large for the little creatures made by the ARA company.  Clearly Krampus took on more of a comical role in the 20^th century, which is why some of these cuter and less ominous Krampus items can exist.

My mom found a few of these Krampus ornaments at a flea market.  The dealer she got them from said he bought them in the Czech Republic.  They are really cool, but pose a bit of a mystery.  This ornament is made in the Dresden style, but looks awfully clean and new for a vintage ornament.  I have always heard talk about people finding warehouses with vintage holiday stock and toys in them in Germany and Eastern Europe, but there are also a lot of reproduction holiday pieces that look a lot like the original pieces floating around on the market.  This can make you wonder if the “warehouse” stories are true, or if they are made to fool people into spending more money on reproductions.  Could this Krampus be a great, vintage piece?  Maybe.  Could he be a new piece done to look old?  Maybe.  The bottom line is, he is really cool looking, and I haven’t seen any others on the market to compare him to.   It is probably best to error on the side of caution and say that there is a good chance that he isn’t too old, but he looks great and we love putting him on the tree.  And if he is old warehouse stock, that is a bonus.   There is a whole discussion that could be created right now on vintage a reproduction Christmas decorations coming out of Europe right now, but right now I want to divert into a conversation about some of Santa’s other ominous sidekicks from Europe.

Before learning about Krampus I was in introduced to Knecht Ruprecht, a similar character from Germany, by one of my high school friend’s mom who happened to be a German teacher.  Knecht Ruprecht is a very similar character to Krampus in that he punishes bad children, but he has a beard and looks more like a creepy and mean Santa.  Another similar character is Belsnickle, who is also associated with Germany and the Pennsylvania Dutch.  I think this ornament most likely represents one of those two fellows. He is just another one of St. Nick’s friends doing all of the dirty work, while Santa rewards the good kids.  There are many other mean Christmas characters besides Krampus, but I think Krampus fascinates the public so much because he is so scary and disturbing.  I mean, I wouldn’t want a scary old man hitting me with switches, but I would take that over a devil licking my face and hitting me with switches.  This nice early Knecht Ruprecht/ Belsnickel ornament is a perfect segue into our favorite Krampus piece, a fairly early unassuming box with a fantastic surprise.

This little paper lithographed box holds a secret, and since you already know that we are talking about Krampus, I am sure you figured out that there is a Krampus in that box…

I am a little bit embarrassed to say that we did not know that this piece was most likely a Krampus when we bought it.  The dealer selling it made no mention of Krampus on his price tag, and we just took it for a really neat gag gift with a devil.  After several years of owning this piece, we learned about Krampus and started putting two and two together.  This devil head has black skin and a pronounced tongue, his box has Christmas colors on it, the sentiment of “Think of me” could mean that children should be thinking about Krampus to help remind them to behave at the holidays.  It really makes sense for this piece to represent Krampus.  The one thing that throws me off more than anything is that the box is in English.  Krampus didn’t infiltrate the pop culture of Americans much at all until probably within the last decade.  In Europe his reign of terror was seen only really in Austria, some of Germany, and a little bit of Eastern Europe, but not English speaking countries.  This piece isn’t marked, but is probably German, and the Germans imported a lot of decorations and toys to America.  I propose that this toy might have been produced as a Krampus piece in Europe, but that they sent it to America to represent more of a novelty.  It does work as such.  You don’t have to know who Krampus is to see the humor in handing a person a box with a sentimental message on it, and then laughing at their shock when a devil pops out.  Anyway, that is my thought on the matter.  It is a great Krampus piece, and by far the favorite in our collection.

I am all about festive cheer at the holidays, but I can’t help but be fascinated by Krampus.  Clearly I am, because I made a Krampus knee hugger this year…

…which is sold out on Etsy.com at the moment, but more will be available soon.  There is always something interesting about learning about strange traditions and characters, and that is why Krampus has become a part of our holiday decor.  He is just a scary little reminder to be extra nice at the holidays.

The post When Your Holidays Need a Little Less Cheer and a Little More Fear, Bring in the Krampus. appeared first on The Collector Gene.

However, when the show officially premiered on Fox in 1990 (after a successful 30-minute outing with the holiday special “Simpsons Roasting on an Open Fire”), I was immediately sucked in. It was hard to escape its success. The show became the first major hit for the Fox network, and a lot of that success had to do with the fact that it wasn’t quite like any cartoon that had ever been seen on television. The animation was rough, but showing a clearly dysfunctional family while highlighting the fact that Bart Simpson was likeable despite being a poor student and a poor role model in general was unlike any other cartoon at the time. It’s now more than 20 years later, and viewers are used to the fact that any cartoon airing after 8 PM is bound to contain offensive language, sexual humor, topical and political references, and a plethora of outrageous characters. And it’s all because of The Simpsons, a show still going strong.

While most parents made a point of making sure their kids did not watch The Simpsons, my parents were okay with it. It’s not because they’re bad parents. It’s because I found the show funny and, even at seven years of age, I knew not to attempt to replicate anything that Bart Simpson said or did. In fact, I got the nickname “Simpsons fan” in high school because of my encyclopedic knowledge of my show and my ability to relate just about any situation I encountered to a particular episode.

It was nearly impossible for me not to get sucked into the whole early Simpsons fandom. Companies looked at the popularity of The Simpsons and the fact that it was a cartoon and decided to merchandise the hell out of it to kids. Posters, t-shirts, fast food toys, albums, candy…you couldn’t walk more than 10 feet of any retail establishment in 1990 or 1991 and not see The Simpsons plastered all over everything. People eventually got sick of it, and thankfully, The Simpsons survived not because of the sales of merchandise but thanks to steady ratings and a top-notch team of writers responsible for some of the best seasons of any TV show ever produced.

One of the standouts of that early Simpsons merchandising period was a set of action figures produced by Mattel. The set consisted of all five members of the core family (Homer, Marge, Bart, Lisa, and Maggie), but remembering that these were action figures, they decided to produce one villain (the bully Nelson) and one “hero” (Bart in his Bartman costume). There was also a “Sofa and Boob Tube” playset, which consisted of a couch with an ejector seat (?) and a TV so that you could recreate the various “couch gags.” In addition to being poseable figures, the only “action feature” these figures had was a hole in the top of each of their heads where you could place a plastic word bubble. Each figure also came with an array of paper phrases that you could insert into those word bubbles, so it looked like the figures were talking to one another. Sound lame? It was.

Perhaps it was that lame action feature, the general overproduction of Simpsons merchandise at the time, or the fact that the Simpsons family did not make for action figures in the same way that Marvel and DC Superheroes and G.I.Joe could at the time, but the line failed. However, until the toy company Playmates released their incredible “World of Springfield” line in January 2000, these were the only action figures Simpsons collectors had for an entire decade.

OR WERE THEY?

I don’t know if this is still a trend today, but once toy lines were finished in America in the 1980s and 1990s, the molds for the figures were shipped to other countries where the toys might still be popular with kids. The Simpsons was a worldwide phenomenon, so after Mattel was finished with the line in North America, the molds found their way to South America. This is a common phenomenon and explains why a few action figures unproduced in the United States eventually saw the light of day elsewhere.

With molds in hand, though, the toy companies of South America could basically do whatever they wanted with them. Knowing that these were action figures, they decided to take a few liberties with the line, which is why these three oddities exist:

These three figures – Superbart, White Ninja Bart, and Black Ninja Bart – were original creations in South America. The packages do not make any references to Mattel, or any specific toy company that I can find, but they are dated 1992, so these were definitely released after Mattel’s line saw distribution in the United States. They all utilize the basic Bart Simpson action figure mold, yet with some brand new paint jobs and some mixing and matching of accessories, the toy company responsible for making them was able to create three entirely “new” figures.

I’m sure it only seemed logical that if Bartman existed, a character like Superbart should also exist. The Simpsons hit it big just as Tim Burton’s Batman movies generated a lot of renewed interest in classic DC superheroes. Unlike Bartman, though, Superbart does not benefit from a unique mold, so not only is Bart’s smiling face intact, but so are his t-shirt sleeves. Still, Superman is such a recognizable part of popular culture that the intended effect is achieved.

If the t-shirt sleeves looked a little ridiculous on Superbart, they look even more ridiculous on White Ninja Bart. Of course, the most ridiculous element is that they kept the smiling Bart head, so even though he’s wearing a ninja mask, his smile appears through it. The design has to be inspired in part by the White Dragon figure of Coleco’s Rambo line. This doesn’t surprise me, since the Rambo line was heavily marketed in South America (see my previous article regarding Dr. Hyde).

That white smile of Bart’s is definitely the most ridiculous on Black Ninja Bart, where it almost appears as though Bart is wearing offensive blackface makeup. This is essentially just a black version to counter the white version. However, this figure is perhaps the most interesting of the bunch. Why? Because out of these three figures, Mattel was actually very close to making this particular figure.

Toy Fair Catalog Courtesy of John Kent http://pheydenfans.blogspot.com/

If Mattel’s Simpsons line had been more of a success, a second series of figures would have been made. In addition to new variations of Homer and Marge and the addition of a Krusty the Clown figure, there would have been multiple new versions of Bart, including the black ninja version pictured above. It is interesting to note that the grappling hook accessory pictured in the catalog is very similar to what was included with the South American version. Other than a few early prototypes, these catalog images are the only evidence that a second series was even in the planning stages.

Outside of a canceled promotional figure called “Save Blinky Bart,” these figures are by far the rarest and most desirable action figures tied to Mattel’s original action figure line, and since they were only available in South America, they are very difficult to find, especially carded like this. I was EXTREMELY fortunate to find these three figures on a recent trip to Pittsburgh for $15 each at a comic and collectible store. The dealer was happy to get rid of them, saying that they were “too weird” for his tastes. Thankfully, I like weird stuff, and I knew that $45 for the set was probably what it would cost to have these figures shipped from South America to the United States in the first place! It’s difficult to place a value on these because they rarely come up for sale, but I know I made a sound investment. Plus, I like Simpsons. It was a no-brainer.

Obviously, these are not for everyone, and most collectors prefer the World of Springfield line. However, there are die-hard Simpsons collectors all over the world, so while these might not exactly portray an accurate representation of what you would see in the cartoon, they are a set of rare curiosities that any true Simpsons fan would be thrilled to have.

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