The Love Bug
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The film follows the adventures of the Volkswagen Beetle Herbie, Herbie's driver, Jim Douglas (Dean Jones), and Jim's love interest, Carole Bennett (Michele Lee). It also features Buddy Hackett as Jim's enlightened, kind-hearted friend, Tennessee Steinmetz, a character who creates \"art\" from used car parts. English actor David Tomlinson portrays the villainous Peter Thorndyke, the owner of an auto showroom and an SCCA national champion who sells Herbie to Jim and eventually becomes his racing rival.
The Love BugDirected byRobert StevensonProduced byBill WalshWritten byBill WalshDon DaGradiStarringDean JonesMichele LeeBuddy HackettDavid TomlinsonMusic byGeorge BrunsStudio(s)Walt Disney ProductionsDistributorBuena Vista DistributionReleasedDecember 24, 1968 (limited)March 13, 1969Running time108 minutesLanguageEnglishFollowed byHerbie Rides AgainSourceThe Love Bug was the first in a series of movies made by Walt Disney Productions that starred a white Volkswagen racing Beetle named Herbie. It was based on the 1961 book Car, Boy, Girl by Gordon Buford. It follows the adventures of Herbie, his driver Jim Douglas (Dean Jones), and Jim's love interest, Carole Bennet (Michele Lee). It also features Buddy Hackett as Jim's enlightened, kind-hearted friend, Tennessee Steinmetz, a character who creates \"art\" from used car parts. English actor David Tomlinson portrays the devilishly evil Peter Thorndyke, the owner of the auto showroom and a SCCA national champion who sells Herbie to Jim and eventually becomes his racing rival. It was the highest-grossing film of 1969.
To Shawn, such achievements were important and nice, but not really the point. When he was obliged to step down as editor in 1987 after 35 years, a Lou Gehrig streak in a revolving-door world, the farewell statement he drafted for the staff didn't recap old glories and pat the magazine on the back. Instead, he bared his heart. He heralded The New Yorker as a house of love. \"Love has been the controlling emotion, and love is the essential word. We have done our work with honesty and love,\" he wrote. Unable to let the word go, he ended his letter, \"I must speak of love once more. I love all of you, and will love you as long as I live.\" He faded into retirement and died almost six years later. An editor's legacy is usually buried with the back issues, but the legend of Mr. Shawn, like the legend of Harold Ross before him, has been magnified over time. A shrinking violet when he was alive, Shawn is now being regarded as the tree of life.
Admired through a beauty lens of hero worship (Mehta), romantic love (Ross), and daughterly devotion (Fraser), Mr. Shawn emerges rounded and complete, a deskbound Buddha who is peaceful, humble, and wise. None of these tributes to Shawn do justice to the powerful contradictions of his seemingly passive manner and the psychological strain of this makeover. Like the narrator in the Philip Larkin poem \"The Life with a Hole in It,\" it wasn't a matter of Shawn's always doing what he wanted as much as never doing what he didn't want. Here was a man who was afraid of heights and enclosed spaces (he had his own elevator in the New Yorker building and, according to Ross, wouldn't visit his sons' apartments, because they were too small), yet had no problem visiting the 15th-floor apartment he and Ross originally secured as a love nest. Here was a man who professed he couldn't travel, yet hopped into a Triumph sports car with his mistress and tooled off for the Catskills. Here was a man who played jazz to unwind, and removed every ounce of improvisation from his magazine. A man considered a moral beacon who lived the life of a bigamist. Within the limitations imposed on him by his various phobias, Shawn flexed enormous force. His psychic cage kept him in a constant state of concentration. In his own way, Shawn was as willful, poignant, and imprisoned a self-creation as Richard Nixon, with Nixon's bureaucratic mastery (and, blessedly, without Nixon's paranoia).
Ross cries, \"For God's sake, Bill, at this point along the line we all know what's happened. Why can't we live, just live\" Shawn nods in agreement even as he says no. \"It's too complicated. There's just too much I can't say.\" Repressed all his life, Shawn was never able to unburden himself, to express everything he had stashed inside. In his 80s, he was still afraid of being anything but careful. For me, the mystery of William Shawn is: When he died, did he feel he had ever really lived Was sainthood worth it Those are Rosebud questions probably no one can answer. But when I look at photographs of Shawn, I don't see love, I see an unreachable loneliness.
Sitting alone watching the other ladybugs celebrate Valentine's Day, Lyla decides to find out what this thing called love is really about. On her journey, she makes new friends, misses one very special old friend, and finally discovers for herself the true power of...love.
A car with a mind of it's own is both treated like and acts like the family pet. It's slightly amusing at times, kinda cute sometimes, and incredibly funny on occasion. Those incredibly funny moments here are timeless and classic, something my great-grandfather thought was absolutely a riot. While much of the feature is a bit dated and super far-fetched, it still has plenty of charm without being too hoaky. It may after all be a love story, but at least there's enough of a classic comedy here to really not be ashamed to really like this one. After all, my great-grandfather did really like this one, so it can't be the worst comedy of it's time.
After shooting The Love Bug, Dean Jones would return to his first love, which was the stage. He won the lead role in Stephen Sondheim's classic musical 'Company', which focused on marital angst. While he soon pulled out of the production sighting 'family problems', it wasn't before he was featured as part of the Grammy-winning Broadway cast album. Which was appropriate, since he started his career as a singer before appearing in a string of mostly forgettable films throughout the 1950s.
Dean Jones would continue to work throughout his 70s, appearing in a number of TV shows and movies. It wasn't until 1995 that Dean Jones was finally honored by Disney and given a spot in the Disney Legends Hall of Fame. Though he hasn't appeared on screen since 2009, Dean Jones is beloved by fans everywhere, and will always be remembered for the great performances and family friendly entertainment he bestowed upon the world.
Lovebugs are always around, they are just a lot more prevalent during their mating season. They're active between 10 a.m. and 6 p.m. and they love (no pun intended) temperatures above 84 degrees.
The lovebug, Plecia nearctica Hardy, is a bibionid fly species that motorists may encounter as a serious nuisance when traveling in southern states. It was first described by Hardy (1940) from Galveston, Texas. At that time he reported it to be widely spread, but more common in Texas and Louisiana than other Gulf Coast states.
Within Florida, this fly was first collected in 1949 in Escambia County, the westernmost county of the Florida panhandle. Today, it is found throughout Florida. With numerous variations, it is a widely held myth that University of Florida entomologists introduced this species into Florida. However, Buschman (1976) documented the progressive movement of this fly species around the Gulf Coast into Florida. Research was conducted by University of Florida and U.S. Department of Agriculture entomologists only after the lovebug was well established in Florida.
1. Thorax with dorsum rufous and pleura extensively black; head with oral margin distinctly produced forward. Male genitalia with 9th tergum not as broad as in Plecia americana, just slightly broader than long, with shallow medial excavation and ventromedial flap, not produced ventrolaterally; 9th sternum with dorsolateral lobe extending under 9th tergum, produced ventromedially into a narrow forked process; telomeres large, L-shaped in lateral view. Female genitalia with 9th tergum large, almost completely concealing cerci in lateral view, strongly excavated dorsomedially; cerci small, narrow in dorsal view; 8th sternum small, with a shallow medial excavation; ovipositor lobes broad, blunt apically and strongly sclerotized dorsally . . . . . lovebug, Plecia nearctica Hardy
Callahan and Denmark (1973) reported that ambient temperatures above 28C and visible light at above 20,000 Lux (2000 ft-C) stimulated lovebug flight but not orientation behavior. Lovebugs are attracted to irradiated automobile exhaust fumes (diesel and gasoline) when the ultraviolet light incident over the highway ranges from 0.3 to 0.4 microns (3000 to 4000 angstroms (A)) between 10 AM and 4 PM, with a temperature above 28C. Hot engines and the vibrations of automobiles apparently contribute to the attraction of lovebugs to highways. Callahan et al. (1985) reported that formaldehyde and heptaldehyde were the two most attractive components of diesel exhaust.
The following description of reproductive behavior was taken largely from Leppla et al. (1974), who reported on a daily rhythmicity of flight, mating, and feeding of lovebugs in the laboratory and in the field, which coincided with the ambient temperature of 19C and an incident light intensity range of 15,000 to 20,000 Lux (1500-2000 ft-C). Adult males begin hovering between 8:00 to 10:00 AM EDT. Males orient into the wind 0.3 to 0.9 meters above ground level. This behavior tends to cease after 10 AM and a resurgence occurs at 4:00 to 5:00 PM and lasts until about 8:00 PM. Females do nor hover but crawl up vegetation and take flight through the swarm of hovering males. The female is grasped by a male during flight, or while she is on vegetation before flight. Copulating pairs begin dispersal flights around 9 to 11 AM. Individuals may feed alone, or while in copula, on nectar or pollen in the vicinity of the emergence site. There are few or no mating pair flights by afternoon. 59ce067264