Crashryan, I do think you are right! It probably IS McCann on that story. I am not sure what Overstreet currently says about the art credits on Robotmen, as my latest Price Guide is from 1989-90. Kind of out of date, right? So therefore, I defer to you on this. Thanks for correcting me! 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. In the episode "The Sting" of Futurama, Leela is handed a toy resembling a Martian Popping Thing by Hermes. Martian Cuke - The Forgotten Cousin of the Martian Popping Thing". Slightly Less Disappointing Blog from Archie McPhee. 25 December 2008 . Retrieved 2022-11-21.

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. In Comedy Central's sketch The Telemarketer, Colin Valenti squeezes a Panic Pete for the majority of the sketch.

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In The Binding of Isaac: Rebirth, an item labeled "Squeezy", vaguely resembling Panic Pete, can appear during gameplay. 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. This was reprinted as Strange Worlds #19, Feb. 1955. The alien design is based on the novelty toy Panic Pete, a.k.a Martian Popping Thing, still widely available. Its history and origins are obscure. United States. Patent Office (1947). Official gazette of the United States Patent Office [microform]. Internet Archive. Washington: The Office. Stump: Around “Folie,” I had gotten tired of trying to retrofit my melodies with Pete lyrics and Pete had gotten tired of trying to push melody ideas. It became a thing of, “What’s most important to you?” Well, I like the music. What’s most important to you? “I like the lyrics.” So I stripped it down to before I have a melody, before I have anything, I turn to Pete’s lyrics. That’s really still the center of the band, but nowadays, we’ve definitely opened it up more to Joe’s ideas. We’ve always been open to Andy’s ideas, but he loves interpreting. He doesn’t really want to write.

In the episode " The Sting" of Futurama, Leela receives a toy resembling a Martian Popping Thing from Fry as a gift, and later is handed it by Hermes. Walker and Ross were replaced by touring bassist Dallon Weekes who helped contribute to Panic!’s third album Vices & Virtues and Ian Crawford. Weekes was then promoted to a full-time member of the band. Smith announced that he was taking a break from performing on the tour supporting the album due to his alcoholism and prescription drug addiction and Crawford also departed his touring duties. “It’s become evident that Spencer still needs more time to take care of himself. I can’t expect him to be fighting addiction one minute and be fully immersed in a national tour the next. With that said, the tour will continue without Spencer while he is away getting the help he needs.” Your album cycles have a very deliberate approach to the visual elements: the cover, music videos, live performances, etc. When does the vision come to you during the recording process? Stump: The ones that see the light of day are the ones that are fully completed. The other question is a little bit more difficult. What songs make the record? There’s usually a vote and a lot of times one of our favorite songs is the one that gets cut. A lot of times we do that process before we actually go in to record. So we have all these demos and it’s almost like making a film, where you do your storyboard, but you’re not going to shoot it. You’re not going to shoot everything, you’re editing down a lot of the things. By the time we go into the studio, we’ve pared down what songs we’re going to do and it becomes a plan. We’re not necessarily like, “Well, this will be the B-side,” but ‘Well, we should record these songs, and I think these are our strongest contenders.” It’s usually then on the record.

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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] Wentz: For the visual side, I want it to be cohesive to the point where it was cohesive on “Mania.” It wasn’t always working, but I personally wanted it to feel like you could have a theme park around your album, you understand the 20 rides we’re going to put in here and I know what the food is going to be like. I want you to be able to walk into an album of ours. On my side, I can’t start the process until there is at least the beginnings of the visual component that goes with all the rest of it. But usually I’m starting to build it and then plays the songs and you’ll be like, “Oh, I thought it was supposed to be this color.” It’s constantly changing. Hills, Bryan (2017-03-07). "Closeout Letter to JDL Engineering Associates Incorporated". FDA . Retrieved 2023-06-10. Wentz: I think also I’m way more open to the idea of people hearing B-sides or demos. For example, with the last “Star Wars,”“The Rise of Skywalker,” there’s this scene they shot where they filmed a spider on top of a baby elf head that talks to Kylo Ren…I just want to see it. I know it exists and I just want to see it. I know it’s not in the film and it won’t change how the story is or anything. So I’m open to the idea of people hearing demos as long as they didn’t make the record for a reason. Wentz: I feel like our thoughts on “Mania” were taken a little out of context. Two records before, we were making albums in a landscape that was not particularly friendly to bands, and so we were just trying to figure out how to survive. It was like “’The Last of Us’: The Pop Radio Version, starring Fall Out Boy fighting the zombies that do not want bands existing.” I think “Mania” was a direct response to all that. There’s a frustrated sound on there. I think it’s intentionally noisy, semi-intentionally polarizing, and the sound we landed on for “Stardust” wasn’t. I don’t think it was a reaction to any of that. I just think being with Neil and wanting to create something that is tangible and that we took our time with was super important. The record spans the whole gamut of things that we’re into.