Goofy demonstrates how not to drive on the freeway: first, the overly timid driver, then the overly aggressive driver, and finally the inattentive driver, shaving or eating. Some of the ... See full summary »
Mickey, Donald and Goofy are fire fighters. As you might expect, their attempts at fighting a boarding house fire are not particularly effective. They hear Clarabelle singing in the bathtub... See full summary »
A friend shipped Mickey a baby elephant, Bobo (not, apparently, related to the Warner Bros. Bobo) as a playmate for Pluto. Pluto's first introduction is to Bobo's trunk, through a fence. ... See full summary »
It's Taxidermy Tech vs. Anthropology A&M for this introduction to college football (first piece of special equipment needed: a campus covered in ivy). Among the names borrowed for players: ... See full summary »
At the race track, various spectators (all Goofy lookalikes) are playing the ponies. A posh rich Goofy bets on the equally posh Snapshot III while another more common looking Goofy bets on ... See full summary »
After a brief review of the problems described in Freewayphobia #1 (1965), we see a new range of problems. These include: abrupt breakdowns due to poor maintenance; unsecured loads; running... See full summary »
Goofy demonstrates how not to drive on the freeway: first, the overly timid driver, then the overly aggressive driver, and finally the inattentive driver, shaving or eating. Some of the advice is a bit dated: following distances are still in car lengths instead of time, and of course cell phones aren't mentioned directly. Written by
Jon Reeves <firstname.lastname@example.org>
Getting over FREEWAYPHOBIA and other bad habits behind the wheel are essential to developing good driving skills on the Super Highways.
Aside from being entertaining, this cartoon presents some valuable advice to staying safe on the nation's busiest roads. Goofy takes on the personas of Driverius timidicus, Neglecterus maximus and Motoramus fidgitus. Paul Frees is the narrator.
Walt Disney (1901-1966) was always intrigued by drawings. As a lad in Marceline, Missouri, he sketched farm animals on scraps of paper; later, as an ambulance driver in France during the First World War, he drew figures on the sides of his vehicle. Back in Kansas City, along with artist Ub Iwerks, Walt developed a primitive animation studio that provided animated commercials and tiny cartoons for the local movie theaters. Always the innovator, his ALICE IN CARTOONLAND series broke ground in placing a live figure in a cartoon universe. Business reversals sent Disney & Iwerks to Hollywood in 1923, where Walt's older brother Roy became his lifelong business manager & counselor. When a mildly successful series with Oswald The Lucky Rabbit was snatched away by the distributor, the character of Mickey Mouse sprung into Walt's imagination, ensuring Disney's immortality. The happy arrival of sound technology made Mickey's screen debut, STEAMBOAT WILLIE (1928), a tremendous audience success with its use of synchronized music. The SILLY SYMPHONIES soon appeared, and Walt's growing crew of marvelously talented animators were quickly conquering new territory with full color, illusions of depth and radical advancements in personality development, an arena in which Walt's genius was unbeatable. Mickey's feisty, naughty behavior had captured millions of fans, but he was soon to be joined by other animated companions: temperamental Donald Duck, intellectually-challenged Goofy and energetic Pluto. All this was in preparation for Walt's grandest dream - feature length animated films. Against a blizzard of doomsayers, Walt persevered and over the next decades delighted children of all ages with the adventures of Snow White, Pinocchio, Bambi, Peter Pan and Mr. Toad. Walt never forgot that his fortunes were all started by a mouse, or that simplicity of message and lots of hard work always pay off.
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