Mark, Pahlow (November 17, 2008). Who Would Buy This? The Archie McPhee Story. The Accoutrements Publishing Company. p.24. ISBN 0978664973.

And thank YOU Krac for the great edit of my scans! The artist of the final story An Accident In Devil's Gorge Lab is Kinstler, according to Overstreet. Later in 1985, Archie McPhee had started distributing the Obie design instead as The Popping Martian Doll, marketed as a stress toy and manufactured by a company named Aliko in Taiwan. [13] [14] By 1988 the name was changed to the Martian Popping Thing, and by 1991 was redesigned so that the mouth was a nose and the toy resembled a clown. [15] This version was manufactured in Taiwan under that name until 2008 when it was then being distributed simultaneously by Schylling under the name Panic Pete [16] and in 2007 as Bug-Out Bob when being distributed by Toysmith [17] as well as the Popping Martian when being distributed by Tobar. [18]Of course, you can still reach for a good old-fashioned Whoopee cushion, because—apologies to my partner here—farting is still funny. So have a blast and buy some fun with these gag gifts that range from the crude to the unusual and beyond. In the episode " One Last Job" of Adventure Time, Tiffany is seen squeezing a parody of the Martian Popping Thing. In the comic book Robotmen of the Lost Planet, the titular robots have very similar designs compared to the original Jo-Bo. In Comedy Central Stand-Up Presents The Telemarketer, Colin Valenti squeezes a Panic Pete for the majority of the sketch. There’s a song, “The Kintsugi Kid (Ten Years),” that didn’t make it. That was recorded almost the entire time through. We were like, this will probably be a B-side. Everybody was kind of feeling that. And then when it was finished, it just felt so great. We collectively looked around like, “We we need to do this song, right?” So sometimes there are things like that, but it really has to be all agreed on. We don’t like to utilize it that often, but each guy has a veto where it’s like, “No, this has to happen.” You get one per record.

Wentz: It was a catch-all for these bands that played shows together but weren’t super similar. At the time, it felt reductive, but more so in the way that we would always try to explain that there are these bands like Rites of Spring and Endpoint, and people were like, “We don’t care.” And then in “real” adult culture, with the editors of magazines and people who invited you to award shows, it was a term that was used to let you know your thing was a little unserious to them. In that way, it was frustrating. But now it’s been interesting to see, as always, those gatekeepers now are a younger generation who grew up with it and they’re like, “No, this is cool — to me you guys are legends.” With time that the term has changed. I don’t feel like we feel any way about it now. I understand that it’s a descriptor for us, so it’s fine. Wentz: I didn’t end up talking to him about it. He seemed pretty decisive. Knowing Brendan, he’s the type of person when he gets to the top of the mountain, he’s not looking for another mountain to go to the top of. He’s just like, “I guess I’ll just walk down.” But I think in this case he truly just wanted to focus on being a dad and this is how he wanted to approach the process. As a father, you can’t tell anybody else how to do it. This seems the best way for him, which I appreciate. United States. Patent Office (1947). Official gazette of the United States Patent Office [microform]. Internet Archive. Washington: The Office.Like many of your records, “Stardust” touches on movies frequently: You’ve been releasing parody movie posters on TikTok, you quote Jordan Peele’s “Nope” in the lyrics of “Heartbreak Feels So Good,” and sample an Ethan Hawke monologue from “Reality Bites.” How does pop culture influence your music, and how did you decide what you wanted to touch on for this album? Stump: I think the most overt would probably be “The Pink Seashell,” where the original Ethan Hawke scene is this off-the-cuff monologue at a beach and the water is just overpowering. We were able to take out the audio of just this dialogue without the water, and in doing so it felt like I was scoring that moment and the grandeur of that existential, massive, no-Santa Claus moment. In The Mask (1994 film), a Martian Popping Thing is taken from Stanley Ipkiss when he is apprehended by police.