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Sunday, November 20, 2011

Goodbye, Golden Age Cartoon Forums..

And welcome back!

The longtime GAC forums, in various incarnations, also known as the Termite Terrace Trading Post, which since 2004 had been under the GAC name, has been discontinued as of last month.

However, it lives on in GAC Archives. There is also the GAC Facebook as well. Also, IAD - Internet Animation Database - Forum has carried on the tradition of the forums, which started around 1997 as just The Termite Terrace Trading Post, after the old 1930s-1960s Warner Bros.cartoon unit [actually, THAT name started in the mid to late 30s for the more outrageous Tex Avery type cartoonists..:)]...I post under Pokey J.Anti-Blockhead [neat, no?:)] on that forum.

Friday, November 18, 2011


One of most beloved but eventually blandest, sadly, cartoon characters had a birthday, in 1928: Walt Disney's loved little barnyard scrawny whiskered rat, known as one Mortimer Mickey Mouse. Mickey has been made a goody goody two shoes through the decades, all the way to the asinine [They Might Be Giants's presence notwithstanding] CGI [not the only reason for the bad quality] "Mickey Mouse Clubhouse" almost ten years, where Mickey talks babyish. But there was a time, yes there was a time, back to "Plane Craxy","Steamboat Willie",etc. when there WAS a BRAVE and ADVENTUROUS Mickey Mouse.

Mickey came out of an irony when Walt had been riding on the train, legendarily, with wife Lillian, according to a fable straight out of Walt's animated feature movies themselves, when he thought up the character, or in his studio in another alternate universe, when a little mouse and him shared food, either way after his Oswald fiasco with Universal, whoi'd gotten that earlier rabbit which just a few years back Disney glot back, and who had then given Walt Lantz the character [the *&%$#hole that stole the pre-Bugs Bunny rabbit from Walt, Charlie Mintz, would move to Columbia, ironically, a 1930s distributor of...DISNEY films...]. But like Lantz's Woody Woodpecker it seems that this is not exactly true..but unlike the honeymoon versus Woody production at the Lantz studio that busts the honeymoon of Walt and Grace Stafford Lantz, it still seems shrounded in mousy msytery as to Mickey creation, only that Ub Iwerks had done the actual creation and design. The character eventually after auditions got Walt's voice, one of many in house voices, and then went to a major debut of sound in animation after Warner Bros. before their own animation entry a few years later with the Harman-Ising studio, had AL Jolson ushering the sound era in [the subject of the upcoming indie flick "The Artist"] at all.

Mickey Mouse is maybe the most misunderstood 1930s-1940s American classic theatrical cartoon character of all time.

During the thirties, Mickey, with Donald Duck, Pluto and Goofy [nothing like a dog who stands up and a dog who walks in one cartoon, eh?:)], went on straight adventure, but by the mid thirties became so popular he became the male Shirley Temple. To put into context Disney got so many letter from angry parents that Mickey wanted to kick ass [LITYERALLY], that supporting cast nonethless [Leonard Maltin and others writing noted the surperior supporting cast issue here], it wasn't as much fun to watch the mouse.

Technicolor wasn't needed, nor Eastman or Cinecolor [THOSE were for the competition!!] for the black and white mouse even after color entered the new;ly started 1928-1939 "Silly Symponies" starting with "Flowers & Trees" on. But from "Band Concert" [1935], the studio did color cartoons, but sitll had exclusive "3-Color Tech." rights.However the mosue by 1939 was, well, fading.

He did get into The Major Expirment in November 1940--"Fantasia": in the second sequence "The Sorcerer's Apprentice", which brought him new fame, playing the title character. But kit wasn't tioll; mid 1940s, ironically when Disney retired playing his character but then in 1953 with "Simple Things" retired Mickey, with Bugs, Woody, and even Disney's own supporting cast outshining The Mouse [and sound effects guy Jim MacDonald took over the voice] by "Fun and Fancy Free". '

However 1955 brought the first [and REAL in my humble opinion] "Mickey Mouse Club", the first TV adaptation of the old `1930s theatrical and radio clubs, and he appeared on the opens and throughout, and in 1972 "The Mouse Fsctory debuted", but after 1958 it was just "symbol time"..Supermouse..Happy Hamster [he could be a great straight man to the Kia sports car hamster..] Fortunately the public and The Walt Disney Company havben't forgot and built him up in historical recongition though in one of  the slight inaccuracries, the originally silent-made 1927 "Plane Crazy" and "Galloping Gauchos" predated the 1928 "Steamboat Willie" which was the first with sound.
and that is what got added to the others once Warner Bros. found Al Jolson "Mammy-ing" in "Jazz Singer" [1927] to be a major turning point.

Attermpts WERE made, from "edgy" to "BABYISH" [the aforementioned "Mickey Mouse Clubhbouse"] to continue the mouse, who in 1983 DID get a comeback with a filmed version of the 1974 "Mickey Christmas Carol".

What's the REAL reason for historians's hysterical misinformation??

A post on the legendary Joel Whitburn's music stastistics Record Research/Billboard books on here[ and a few entries in his famed Billboard Record Research books that turned out to be red herrings has instigigateed this topic.

We all know that the kids stuff rep of cartoons, sweet or violent, got the shorts tarred in America thru the 1960s.

We also know that skimpy credits led to wrong credits [five words: "Voice  Characterizations by Mel Blanc." And this "Film Editor" Treg Brown.The contractual or idiosyncratic practices. Short subjects like the Three Stooges at Columbia, which, showing the studio's own cheapness, only listed the stars, ntot he character actors/leading ladies of the live Stooges, so it wasn't just cartoon shorts with skimpy credits, likely stock-cues and sound effects on TV shows of the 1950s never got credited for the most part..]

Of course, then, it was okay, to deny credit for legal and contractual or other reasons, or to give somewhat undersating credits, this extending to not mentioning outisde "Now Hear This", 1963, that Treg Brown did SOUND EFFECTS, as well.

It seems any kinds of reason emrge from Jeff Lenburg: Example: "'Snoopy Come Home' [1972] ended tragically".[Not verbatim]. Many miscredits in the Lenburg books and in others. The usually accurate Graham Webb has, despite what animation fan "Sogturtle" has said in the old Termite Terrace Trading Post, wound up sadly wrong on voice credits. Not all, but a handful.

 All of this, of course, due to sloppy research, in short, or l.ack of interest, just wanting to show a hatrred or boredom of the subject [I know how that can be ] so as not to give any accurate data on the topic

BUT there is another, LEGITIMATE reason, getting back to showbiz, to animation, for having WRONG information. The attempt to stop plagiarism. [The link above at the start of this post would be the case, if you  wind up at "Whitburn Mistake"].

Many showbiz historians apparently have admitted to using false info to keep their books, in short, disctinctive, to track down those who would run off with the information.

[Keith Scott may take note here regaridng Graham Webb, that guesswork-both men certainly liked the cartoons, so ignorance wasn't a factor here!-may have not been the only reason for incorrect information in that Webb "The Animated Film Encyclopedia',2000, McFarlane Press].

In Gindlemann's Hi-Q cues aliases, and code names

During the 1960s, when the former John Seely, now Ole Georg [sic] Capitol Produciton Music aka Media Music service was
being reorganized, a younger composer, Ib Glindemann, was retsained, after composing music since the middle 1950s used in
many older Hi-Q library era shows [and in the later era in "The Night of the Living Dead" [evil laugh]. Some of these were used on
low-low budget cartoons and in stop motion shows of producer-creator-director-writer-voice Art Clokey, in both Gumby and Davey and Goliath.

Like many, he used pseudonyms, such as Dan Kirsten, Robert Ascot, and a few others [if I may]. The compositions had many composers's cues letter-numeral
codes [not just there but at other libraries, and often "bland names", LOL]. Various letter-number codes for different monickers,too.

This is a recap of what has been written before [others like SpeedyBoris and Yowp have written of this on their own blogs..]

Ib Glinemann himself had these.
CM=Robert Ascot
GM=Ib Glindemann
VM=Dan Kirsten
All of them were, again, the same person, with Ib Glindemann being the real name.

For Clokey episodes, I heard for Davey and Goliath's 1971 episode "Finders Keepers", GM ? "Vacation Time", while Gumby seems to use three,
again all written under the [real] Ib Glindemann name:
GM 592-"Western Saloon"-heard in "Gold Rush Gumby" @both the title card and the end
GM-598-"Yankee Doodle"-heard at the end of "A Bone For Nopey"
GM-??   "Travel Spain" interlaced with other cues in "El Toro".
All of them "Prickle and Goo" era 1967-69 Gumby shorts.

The Night of the Dead at the time used Glindemann" cues from the 50s while "Ren and Stimpy" in the 1990s seems to use Glindemann cues under all three names [Ib Glindemann [GM], Dan Kirsten [VM], and Bob Ascot [CM]].

There were other pseudonyms for Ib, as "Neil Amsterdam", but I don't seem to remember the codes for those.

A handful of other and earlier composers and codes:
Ole Georg's own code I have no memory of

Earlier counterpart (1) John Seely was TC, always teamed with
(2) Bill Loose-C, himself in turn also in the later 50s, teamed with (3) Emil Cadkin [JB], this latter-named himself
teamed with  (4) Harry Bluestone [CB],[also for his own solo works] --- or with (2), with (5) Jack Cookerly [OK/PMS] or with (6) Phil Green, who
was usuaally a solo composer for his own EMI Photoplay [PG] or [EM], but who with (2)&(3) was PH or also
wrote with (7)Geoff Love & (8)Ken Thorne as PE.

Spencer Moore, aka "L"
George Hormel, aka "ZR"
As an example recap above.

There were many Sam Fox [SF] composers as well as Ed Lund's Tahiatian music and the various works for Jack Shaindlin.

Back to Ib Glindemann, as gathered from the first paragraph he was a transition from the Seely-Loose-Cookerly to the Georg/Neilsen era of Capitol.

As a result of both his staying later and also his work with Sam Fox as well, resulting in Carlin Library, Ib Glindemann's music has been more licensable and avialable now than some of the other Capitol composers .

The whole searches from screen titles to label-credited, if you will, composers, to the ghostwriters, to all of these "fake names", and such can leave me regardless and others seeming like we're being confusing on credits just for the fun of it. Not that historians on entertainment and such HAVEN'T put "false" info..the Record Research books being examples of that..

The Capitol Ib GLindemann cues, at least 64 and onward, are currently being still owned by OGM music itself while Carlin has the Sam Fox ones.:)

Heinz-57 varieties of music

What do Three Stooge cartoons from the early 60s, "It's Alwaays Sunny in Philadelphia", movie intermission [even today..], radio and TV ads to this day, old test cards, and
many televiison sitcoms have in common that I haven't mentioned as a post topic?

Yet another composer.Heinz. 57 varieties of music and of property sassociatons."

Heinz Kiessling was born in 1926 in Germany, and became associated with many studio orchestras of the day. He worked for radio shows, hit records, and--you guessed it--stock cue libraries. One of these would be Southern, and another KPM. Like other composes, he'd be likely or others woud be likely, to assign different titles to the same cues, especially if you're a "Always Sunny..Philly" fan on FX or just like the read the titles, heard the cues, and known the titles from various blogs such as Bryan's Lounge, Schadenfreudian Therapy,etc.

At least for the "Sunny in Philly" current TV show
For instance:
Tandam Holiday="On your bicycle"
Haute Couture="Temptation Sensation", the "It's Always Sunny" theme.
The First Flirt = "Stepping Out".That makes sense.

THE TUNES AS ON "SPENDING SPREE" on BRYAN LORD's BLOG, "BRYAN'S L:OUNGE": [<a href=""]Bryan's Lounge</a>]
That second tune was on Bryan L.'s homemade "Spending Spree" collection under that name, and other renaming was done for a handful of other cues-Phillip Green's "Augie Doggie" Capitol cue "Bush Baby" aka in Capitol, [circa 1957] "Comedy Movement PG-149" is listed as "Curious Kittens"[and don't even get me started on what CARLIN's "Classic Cartoon Fun" CAR 404 - see either PLAY PRODUCTION MUSIC or APM.COM and go to CARLIN PROD.MUSIC - did--calling it "Animal Magic"-as happens to a lot of old produciton cues. Even composer credits were changed for that "Spending Spree" collection: A Dennis Farnon tune called "Bring on the Girls" in the KPM librsary  popularized by Ideal Toy Corproation in  a 1960s "Rebound" ad, been re-credited on that "Spending Spree" list of tracks on Bryan's Lounge, to George Steiner as "Tater Tot Parade", in the "Spending Spree" colleciton. Coincidentally, both Dennis Farnon and George Steiner had a Rocky connection, to Bullwinkle..both composed for the seerioes and did cue stock cues..].

Back to Heinz.. Like others, he collaborated, in this case, with a pianist named Werner Tautz. Compositions, as I know them, are besides those mentioned,
and these are just some favorites,
"Happy Forest"
"Fruling in Stockholm"
"King of Krug"
"Busy Amadeus"
"Epsom Derby"
"Good Choice"
and the two mentioned in reference to the R-rated adult-com [the Lisa Lampanelli of cable sitcoms, if you will] current FX show "It's Always Sunny in Philadelphia".

The tune "Sunny" people know as "Get on your Bike", which I know as "Tandem Holiday", is a favorite, so is "Visit to Amsterdam" & "Green Island".

All of them were used in  various 1950s-1960s American TV cartoon shows. I believe The Quick Draw show, the Augie ones  "Skunk You Very Much" & "High and Flighty", may have used one, as <a href="">Yowp</a> mentioned, though it's only a VERY wild guess,  through KPM or somewhere else, through Capitol.

As mention at the start, "The New Three Stooges" used these, as well.

So there you go....comments definitely welcome here.

Sunday, October 23, 2011

Goldilocks-DFE style

Following up the Hanna-Barbera Alice Special, here is another odd special that also was a dream based early entry into TV specials by a famous studio.

Back on April 7, 1970, NBC-TV aired a DePatie-Freleng-Mirisch Films special with superstar crooner Bing Crosby and his family, right down to [as Goldilocks] Mary "She shot J.R.Ewing!" Frances Crosby, bookended by life action, about Thre Three Bears story.
In it, M.F.Crosby, then 11, when listening to Bing tell son Nathaniel a story when wife Kathryn [the boys whose stormy relationship caused that unfortauntel later scandal being of an earlier marriage] is making dinner in tthe trailer, at camp, walksa off and in animation becomes Goldilocks. Going into the house when the three bears, who resemble a certain crooner's family  , leave after Bing beats his pal the Bobcat at golf, Goldilocks goes through the famous "this porridge/chair/bed is too hard/soft..just right" routine, and of course our ursine friends return and wake Goldie up only to become her friends where the story is then extended. Goldie goes to show Junior just what bears can do like people, like climb trees [as if bears CAN'T LOL].
Meanwhile. the temperamental bobcat goes off with his animal friends to RALLY against these HUMAN critters! Goldie, Papa, Junior, and Mama Bear hear the mob, also consisting of a deer who is the 'Cat's friend, and Pa has to explain to the cat, eventually driving them away . "Ahhhh.." fusses the fussy bobcat..."people. WHO NEEDS 'EM"! LOL. After this Goldilcoks wkakes up, and now it's back from animation to live action to Mary Frances, and our Bing Crosby family, now ALL human, go camping but.."Somebody's been sleeping in our bed" says Mary Frances...and the O.Henry ending is...<spoiler>the animated Junior [Nathaniel]</spoiler>
Bobcat/Various Critters/PAUL WINCHELL
Deer/Various Cirtters/AVERY SCHREIBER
Co-Production and Songs by RICHARD & ROBERT SHERMAN
Executive Producers DAVID H.DePATIE and FRIZ FRELENG
Animation Direction LEE MISHKIN and FRIZ FRELENG
Supervisiing DIrection MARC BREAUX
Music Arrangement
First broadcast:
April 7, 1970 on NBC-TV
Noting Paul Winchell and the Shermans presence, not to mention Friz Freleng [early experince] and Bing Crosby ["Ichabod"], there was a HUGE Disney connection, explaining why [in DIsney music's first non-Disney licensee] this was a natural for Disneyland records.

[Of course any storybook already made it into Disney records and such before that; there was a Goldilocks LP in 1960.]

Bing wanted quite the high price when in 1969 this went into production and a bit rtoo high, no syndication, so very rarely rerun. I've downloaded this off a blog..the songs are acvtually quite catchy as you'd expect the Shermans's after being with Disney [along the British filom Chitty Chitty Bang Bang] to be. For DFE to really catch fire along with Rankin-Bass, Mendleson-Melendez-Schulz [Peanuts], and some others as chief suppliers of 1970s TV specials, a certain cat in the hat would come splat, just like that, to the tune of comic Allan Sherman.
Read more:

PS Sad update: Robert B.Sherman, who wrote the catchy songs for this and so many Disney projects. and Chitty2 Bang2,has died..


When Hanna-Barbera set out to try to conquer prime time with animaiton specials, a decade after great successes with daytime and primetime programming, they first started to come up with a show about Atom Ant & Secret Squirrell, and did a promotional hour special, but then tried a different thing altogether afrewards.

Eventhough Walt Disney had released "Alice In Wonderland" 15 years before [as of 1966], even though they had scored a hit [NOT on screen though] on records, H-B was asked, according to Charlie Shows in his 1980 autobiography "Walt", to write such a special, after his svereal first years THERE, but the job went to good old Jose Jiminez, Bill Dana himself [stereotype by the next few yhear,s yes, but at least MUCH luckier at the time than Speedy, who had to haver the incongrous pairing with Daffy at Warners] to write it and play the White knight in it. The special was finally finished and boasted a combination of performers, in a unqiuely modern take on Alice: A girl about 12-14 after playing ball with her dog Fluff,reminded by her parents in mid-1960s America, of her homework [Alice in Wonderland report, no less!]  after chasing the dog, runs into a wall, and sees the White Rbabit, climbs into the TV to follow and, the famed story.
[Charlie Shows on such: "They wanted a modern, slick, hip version.." but "they knew nothing from the time consuming process of producing animated cartoons
"...he and wife Peggy had "moved into a hotel near Hanna Barbera"..then found out that the sec said "Mr.Hanna[or Barbera] and his wife are on vacation". I noteated in my copy that it wound up being given to Bill Dana..yep, goold old "Josie Jiminez himself".
In this case, she's fallen into a wonderland of odd characters..a "hip" cheshire cat...a mad hatter and his hat maker, Hedda [nudge nudge!], a caterpillar with a VERY eerie resemblance to two certain Hanna-Barberian caveman singing "They'll never tear us apart". Of course at the end it turns out to be a dream. The White Knight is one character that made it to the special that Disney didn't use [Bill Dana--again, a much better use for a "offensive" Jose Jiminez type than the DFE/Format/WB Speedy_Daffy'sa].
The special, after debuting March 30, 1966, soon wasn't run as much as it could be, but after original writer Charles Shows [who'd written for HB for a few years] published the story "Walt" about his own work with Disney for over ten years, as well as everywhere else, the immortal Tom Hatten on KTLA in the afternoon showed this rare special. IN many ways it has a kinship to DePatie-Freleng's debut into specials, dicussed on this blog earlier, "Goldilocks and the Three Bears":
**debut special
**a rarity untilo recently, at elast, for this one
**modern take on classic story about a curious little blonde girl
The full Official title, btw.:
Alice/JANET WALDO----when speaking
Alice/DORIS DREW-----when singing
The Cheshire Cat/SAMMY DAVIS, JR.
Hedda, with the many hats/HEDDA HOPPER [!!!!!!!]
White Knight/BILL DANA
Fluff the cat/Dormouse/DON MESSICK
Alice's dad/Humpty Dumpty/ALLAN MELVIN
Musical Direction
Songs by
Film Editors
Written by
Directed by
Produced by
Originally aired
March 30, 1966
Original Sponser
REXALL DRUGS--with its very own Alice commercial!!!
Eastmancolor by PATHE! [sound the rooster]

The specila had some music that wound up in "Abbott and Costello", Scooby Doo", and other later waning to "over the shark" HB, but all of that was still to come.

Another important thing is the cast album was one of the many "second-cast" albums, and Sammy Davis Jr., under a Reprise contract and HBR records could not use him, so Scatman Crothers, making his HB debut apppears, but also Howard Morris was replaced for budget reasons perhaps by Don Messick as the Rabbit, but then got so ticked off by this replacement that HB wouldn't have been able to have him...Moiris advised an impposible nasty thing to H-B, and quit for years [winding up at the bottom, Filmation, or as I call it, Fugmation].
Recenrtly Boomerang has picked up the special, and reran it like it hadn't for a while. It's also one of the first times Hanna and Barbera weren't credited with directing.
The character designs, by later "kiddie era" veterans Bob Singer, Iwao Takamoto and Jery Eisenberg are far superioir to the work they've been known for [and I gotta do an about face on those guys for flack I've flung for their later 70s-80s otk'; even the poses and dialogue are tremendous and funny..and am I tnhe only one who likes boith the Scat Man and Sammy Davis's version of What's a Nice Kid?]
"Oh...where the potato chips are soggy, they water the beer'-Cheshire Cat.
Coincidentlaly, a live aciton adaptaiton aired later in 1966..recalling Disney combaitng a competive live verison back in 1951.

Saturday, October 15, 2011


A favorite topic ----- AND it's a pet topic of MINE, too, and I feed it and hold it..anyway. :) of us on animation boards is the two theatrical and television packages-----pre-1948 [supposingly copyrighted before 9/1/47 but acutlaly meaning released before August 1948] and post-1948 [(c) after 9/47 but actually meaning "released after July 1948" and later "most black and whites" [Porky, Daffy, or Porky/Daffy Looney Tunes plus said umbrella's one-shot "Puss 'n' Birdy", 1943, possibly the last B&W WB cartoon only] released after 1935].

With onscreen titles evolving to the more standard formula fonts on the first title [story through music], and excluding the director credit, by 1948-49, and the use of both Technicolor and Cineoclor with Tech's increasing backlog vs Cinecolor's stronger efficiency, though admittingly inferioir status and look,  and the studios being more than just "'toon places" ["Roger Rabbit" might just have a missing part about THAT, since it was about live vs toons and took place in the "Technicolor backlog" era.] , causing a VERY schizophreniz release schedule, a obessed hisotrian might ask these--"Why are these Daffy or Elmer shorts from 1948 that I saw with the little man with from the draft boards from form some years earlier, the ones with fancy shamcy Stories, Stalling, Blanc, Foster, Animation, aleternating in the filmography with those other shorts with Elmer and Daffy with credit letting for story, animation, etc. more similiar to those Looney Tunes also from 1948-1949 that I see with Duck Dodgers, Roadrunner, Taz, Granny, etc.

And why shorts that authors like the Leonard Maltin's, etc. list as from late forties of those later have credit fonts after the cartoon title that make 'em look like they belong with  those considerably older 1939-1946 'Holiday for Shoestrings",Sniffles and others from the late Depriession-WAR era?" Questions like that.

The answer, as mentioned, of course, is the skewered release dates in 1947-1949 due to the aforementioned film labratories having trouble getting the shorts released at the time, and tbe other priorties like movies and live shorts and KFWB radio that Warner [and MGM had similiar problems of their own, espeically with their even higher budgets for the Tom and Jerry's!] so depending of the film lab of choice, a cartoon copyrighted in January 1947 would come out in March 1948 BUT one copyrighted later might be finsihed in February 1948 ort even EARLIER. This gets confusing in the crux of the point of this blog's post:
++++THE LAST OF THE DO-DO's..No, THE LAST OF THE PRE-1948 [Associated Artists package] CARTOONS vs the FIRST post-48, production, release.

For everybody's information, Columbia, Paramount and Warner Bros. seem to be the only studios excluding Republic and  Bob Clampett's TruColor "You're a Grand Old Nag" not only using Technicolor, whcih Republic didn't afford:
COL., PAR. WBR=Cinecolor and Technicolor
PAR.=also [example many Popeyes of the time Polacolor]

These used the famous "odd geometric shape below the WB shield" thingy to contain the production number [before 1946], the Vitaphone number.

See -animation historian Dave Mackey's excellent site.

Since this ideals with the cut off year,the entire year of 1947-1949, production numbers given, not release numbers. Not all are known though..The pre- and post- 1948, again, is given BASED on the name for them and is NOT to be taken LITERALLY, as noted thru the entire post.  Release date,Lab,prod.number and reissue status are given example "I Taw a Puddy Tat",  April 17, 1948-which was Bugs Bunny's 8th anniversary, by the way:)-, Cinecolor, #1072, pre-1948 [i.e., former "a.a.p."].

LIST of WB CARTOONS FROM 1948-1949 MARKING THE REISSUE CUT OFF DATE [by prod # see next] with known open title release numbers beginning with the first released and one of the first produced "post-1948 shorts","You Were Never Duckier"[title, original release date, labatroy, production # where known, package.

Below list excludes all Technicolor cartoons released prior to 1948, all black and white cartoons released before [cheating, since until the late 1960s those were still in the Sunset/Guild set, , and the list also excludes the Cinecolor short return of 1947 due to the pre-1948 and post 1948 [as called] reissue packages having '48 as cut-off...

Also noted are such things form time to time as opening, rings, Technicolor credit,etc.Some of the copyright noticed even get mixed when you get to the production numbers marked 1080-1087 [the last of the pre-48 shorts to be released]

This covers production numbers from 1046 to 1096 [the last Cinecolor WB short with a known prod.#, with the final, "Dough for the Do Do" aka that "Porky in Wackyland Wannabe" also being Cinecolor but the blue ribbon policy keeping the open ring title off. However, the MPAA listings also provide a clue:" the short mentioned's a "13573", much higher than the ones below [frankly, the staff credits, just Blanc and Stralling due to the remake status of this, look vintage 1947 to me though copyrighted 1948 on the reissue print.:-)]

[All shorts copyrighted from 1948 to 1949 and were released from 1947-49. Only those with known production numbers, as detailed above, shown. Cut off time dates mentioned.]

PART ONE-Post and Pre-48 shorts thru "The Up-Standing Sitter", prod.1087, July 3, 1948]. Some of the remaining WB shorts (C)1947-48 released after July 1948, thus winding up in the WB [not AAP] package were Cinecolor, and have the only lab notice with most others now in Technicolor.

--------"You Were Never Duckier", August 7, 1948, Technicolor, #1046, the first released and maybe first produced post-48
--------"Buccaneer Bunny", June? 1948, Technicolor,  #1047, pre-1948
--------"House Hunting Mice",  September 1947, Cinecolor, #1049, pre-48, uses customed lettering for entire cartoon credits
--------"Bugs Bunny Rides Again!", Junr 1948, Technicolor, #1050, pre-48 [rare COLOR BY TECHNICOLOR notice in full caps, repeated in the mid-1950s. Possibly the first Warner Bros.cartoon to use the "Eastman" or IB tech "By Techn ", rather than "In.." before the lab credit.

---------"Haredevil Hare", July 24, 1948, Technicolor, #1052, pre-48 [the very last in release ONLY], same fonts for credits as "House Hunting Mice"

[CUT OFF: All remaining Technicolor shorts are post-1948, and all remaining pre-1948 shorts, of course, are Cinecolor.Due to still scattered and inconsistent discrepancies between the packages that got the following shorts and the continuing tow of two labs through 1949's releases, the full informaiton as on the above will continue]

--------"Hot Cross Bunny", August 28, 1948, Technicolor, #1053, first Bugs  Bunny in later package, post-48
--------"Doggone Cats", October 1947, Cinecolor, #1054, pre-48 [1946-47 style credit sequence]
--------"Kit for Kat", October 1948, Technicolor, #1055, post-48 [released exactly a year after the short produced before it, "Doggone Cats"]
--------"Scaredy Cat", December 18, 1948 Technicolor,  #1056 [first Porky and Sylvester thriller], post-48
"The Foghorn Leghorn", October 23, 1948, Technicolor, #1057, post-48
--------"The Stupor Salesman", November 6, 1948, Technicolor, #1058, post-48
--------"Porky Chops", February 12, 1949, Technicolor, #1061, post-48
--------"Daffy Dilly", October 7, 1948, Cinecolor, #1064[??], post-48 [note: bears 1947 copyright, originally, but Blue Ribbon print has 1948 a la "Bone Sweet Bone", more below.]
--------"A Lad in his Lamp", October 1948, Technicolor, #1065, post-48
--------"Hare Do", January 15, 1949, Technicolor, #1068, post-48
--------"What Makes Daffy Duck?", February 14, 1948, Cinecolor, #1069, pre-48
--------"I Taw a Puddy Tat", April 17, 1948, Cinecolor, #1072, pre-48
--------"A Hick, a Slick & A Chick", March 13, 1948, Cinecolor, #1073, pre-48
--------"Daffy Duck Hunt", February 1949, Technicolor, #1078,  post-48
[the next three have "Copyright 1948 by Vitaphone Corp.]
--------"Riff Raffy Daffy", November 20, 1948, Cinecolor, #1079, post-48
--------"Long-Haired Hare", June 14, 1949, Technicolor, #1080, post-48
--------"Curtain Razor", May 28, 1949, Technicolor, #1081, post-48
--------"Bone, Sweet Bone", May 22, 1948, Cinecolor, #1082, pre-48, bears 1947 -the last-in original showing but IRONICALLY a 1948 copyright like "Daffy Dilly", see above in Blue Ribbon reissue print.]

['48 copyrights on shorts below]

--------"The Bee-Deviled Bruin", May 14, 1949, Techncolor, #1084, post-48 bears, ahem :), 1948 copyright date credit, post-1948
--------"The Up-Standing Sitter", July 3, 1948, Cinecolor, #1087, the last pre-1948. Copyright 1948[!!!!!!!].

[All remaining are post-48 Tech.shorts except for, as noted, some Cinecolor shorts.]
--------"Dough Ray Meow", August 14, 1948, Cinecolor, #1088
--------"Frigid Hare", Sept? 1949, #1089
--------"Fast and Furryous", 1949, #1092
--------"Odor of the Day", October 2, 1948, Cinecolor, #1093
--------"Windblown Hare", July 27, 1949, #1094
--------"Holiday for Drumsticks", March 1949, Cinecolor, #1096

I would gratefully appreicate if these titless' production ID's were known:
"A Horsefly Fleas',"Hare Splitter',"The Pest who came to dinner",and 1948 copyrighted- 1949-released titles with more stylized fonts on staff credits
 ["Mouse Mazurka", "Knights Must Fall"]

Unfortunately, many 1980s refencve books, and some beofre and after, wrongly gave a handful of the Cinecolor titles wrong release dates like "Horsefly Fleas" as late 1948, due most obviously to Leonard Maltin's using copyright dates but retaining the release year ["House Hunting Mice","Two Gophers From Texas", and "A Hick, A Slick, & A Chick", and in Jeff Lenburg's books "I Taw a Puddy tat" being other casualities here--execpt for "Hick, Slick, and a Chick"'s catchily scored-open-and title wizard Don Foster's imaginative open, the others have had the Blue Ribbon reissues.

Also the 1948 release the "Upstanding sitter", one of the only pre-1948 Warner cartoons to have a 1948 copyright [and the only time like it in the original open title, with no  Blue Ribbon anyway] used to be placed in July 13, 1947, rather than July 3, 1948. See the filmogrpahy above. Many of the Cinecolor shorts, of cours,e were reiussed in 1955 or so with Tech.prints, as labeled [the overlapping A WARNER BROS.CARTOON legend over that of PRINT or COLOR BY TECHNICOLOR print, as was seen on these rereleased and the cartoon dept.'s then-new releases], and all of the Cinecolor shorts were originally made and released with or without a Blue Ribbon rerelease print in Technoclor.

[Thanks to Dave Mackey's site, the various CORRECT reference books, and Thad K.'s What about Thad site, among others.]

Tuesday, October 11, 2011

The TRUE story of TRANS-LUX cartoons?

"Wiley"'s post on the GAC forum site had me wondering, too, if the Trans-Lux studio [repsonsible most notably for Felix the Cat & Herclues with a veyr young Johnny Nash singing, and getting SCREEN CREDIT], among others, wasn't the continuing Paramount Cartoon Studio, which under its own name [after switching from Famous in 1956] just using a different name.

The same stock cues by Win Shaples Sr. were, after all, used, but they turned up on some Total TV shows [NOT a off-shoot from Paramont, just in the area], and the evidence is supported, as WileE noted, with Jack Mercer's voice, as he only worked until the dreadful 1970s "Popeye" revival at Paramount animation, plus Joe Oriolo [the creator of Caspet the Friendly Ghost] and asome others [Jim Tyer and some other famous Paramount animators as the animation].

I too have wondered wether Trans-Lux/.Oriolo, aka the credited "Felix the Cat Productions" on that show, or "Adventure Cartoons for Television" for Herc, weren't a part of Paramount animation studios..but other studios used the same stock music, so it may have just been a easy moment with the same crew and NYC Locale involved.

Thursday, October 6, 2011

ALVIN, BEANY, WOODY and more musical stuff!!

"Benay...I'm Coming...ALLLVIN"!!!! These two may not...or shall we say, DO not occur at once, but after hearing the Bob Clampett 1962 cartoon"Beany and Cecil Show" episodes like "A Visit to the Schmoon", "Cecil Meets Cecilia" and others, one hears a fast, spunky riff heard on the Ross Bagdasarian 1961 Chipmunks--"A-dadaDADADAdada"..a comedy stinger with an "Abba Dabba Honeymoon" ending.."and a ABBA daabba ABBA DAAAA"! This is a Big Top type tune done a jazzy, happy cue on the Chipmunks. This cue has shared space on the Bea ny soundtrack, as fellow animation historan/showcaser Thad K. on a recent post on his informative "What About Thad"? blog mentioned, with Darrell Calker's [1905-1964, Walter Lantz musician largely in 1940s] scores [in the case of the Cecilia one, "Chew Chew Baby",1945, not to be confused with the Famous Studios on over a decade later of thatr time.] . Speaking of Famous, it's of course well known music director Winston Sharples compiled HIS cues for his later libraries, most notably the first that used the classic 1950s Famous cartoons's* cues for various shows like "Felix",[produced by Casper creator Joe Oriolo], and "Tennesee Tuxedo"[TTV], with a later one, as Dave Mackey recalls, having cues ending up on H.Seeger's "Batfink" [1967].
It's well known that Bob Clampett and ROss Bagdasarian hung out a lot, and on the "Ed Sullivan" Show that Clampett designed the Chipmunks. This may explained ESPECIALLY since the Beany carotons ALL seems to have in the earlier foreign theatrical life PREDATED the Alvin show on TV. Ross B. may have rearranged the stoinger I mentioend to give Clampett his music identity, and royalties...In fact this is like Clampett buddy/discipl;e [near and far] and Nickeloeon creator John K.,'s outlandish "Ren and Stimpy" in its use of both live and stock music sources..

*The Paramount cartoons using the classic first Winston Sharples and Hal Seeger music libary, Scroll..
"The Case of the Mussing Robin"
"Patriotic Popeye"
"Owly to Bed"
"Cock-a-Doodle Dino"
"Child Sock-ology"
"Bicep Built for Two"
"Sky Scrapper"
"Casper's Spree Under the Sea"[the first Fulltiem Casper]
"The voice of the Turkey"
"Grateful Gus"
"Dizzy Dishes".

The "little voices" that wne a long way through the long, impoverish Depression

As if no one else has done a bunch of classic theatrical golden age animation but here's another familiar fan's one..and the first POST-introductory post, that is.

Various posts, most recently a Golden Age Cartoons forum post by Sanek on "Sniffles takes a Trip" from 1940, whid references obsucre Margaret Hill-Talbot, and Graham Webb and Keith Scott and others who have explained the Shirley Temple like cute animal voices heard so often, especially in the early days, the Depression, which such blobgs as Steven Hartley's excellent Warner, Likely Looney, Mostly Merrie is chronologically posting, and such, have prompted this first post on my new blog, TOON SNOOT [pardon my palinbdrome based title.] Bernice Hansen, a elusive type if ever there was one, was pinned for many years as the voice until more later research in the 70s-80s turned up these.. In Hollywood alone: Bernice Hansen
Leone Le Deoux
Gay Seabrook
Margaret Hill-Talbot
Sarah Berner
Dorothy Varden
Rochelle Hudson
Dorothy Compton
Mary Moder [the two ladies above had the honors of playing Walt Disney's more dimwitting little pigs to Pinto Colvig's practical one]
and others.

In New York at Fleischer, which seems to have the memorable ones Mae Questel. This was largely before the MGM/WB etc. revolution where these were used less.. The late, much-missed Animato! mag had a bunch of articles by Keith Scott and Graham Webb and Hames Ware, who heard a 1969 tape identiofying Shirley Reed as Petunia. Bob Clampett rememebred Bernice Hansen as the voice of HIS cutie charcters, and, maybe in a way that further detracted from his status with the others, misidentified Bernice as doing CHUCK JONES":S Sniffles, yet Gay Seabrooke [the mother in Hal Roach's Little Racals, pre-MGM] was identified in the 1990s or earlier from a raido program with the role model for WB's Egghead, Joe "Wanna buy a Duck" Penner [1904-1941], and discovered the voice match, as well as seeing a Stooges Columbia episode "Men in White", with Bernice. Berner was presumed the voice for Sniffles and similair later through similiar means. Some boys nlike Tommy Bond also of Rascals appeared in WB shorts., Hugh Harman and Rudy Ising at MGM had a handful of others ["The Little Mole"'s title character, for one] whose voices are yet to be ID'd. And many others. You can look all of the names up on Google., Aren't you glad that there's Google? :-)

So many of these "cutie cutie" voices, apparently many Shirley Temple based, sound so similiar as unaninamously agreed, it can be hard to identify them..On Brandon Pierce's page, Keith Scott who I hope reads this mentioning much of what I wrote and then some, said pretty much the same thing!

However, it musty noted as [Yowp's second site along with the], and in Thad Komoroski's excellent
blog, the Holy Grail on info on Miss Hansen, who is Berniece E.Hansell, has come out, and what she also did besides acting.

And finally, as you alreayd may have known through the grapevine [cue Marvin Gaye, CCR, Gladys and the Pips, Calif.Raisons] that Berniece Hansell NEVER played Sniffles.:) At least three have been identified, Gaye Seabrooke, Maragret Talbot and Sara Bernewr. Maragraet Talbot and Margaret McKay may be the same entity.

[None of those voiced my buddy Gumby's girlfriend Goo in the 1960s Gumby's; Norma MacMillan did.:) She did't enter cartoons till the 60s.]


THE TOON SNOOT BLOG Welcom tlo my second, this about anbimation in general thru the early 70s, and largely concetrating thru 1967..included 1920s to 60s. Theatrical ones from Walter Lantz, Walt Disney, Columbia, MGM, Warner Brothers, UPA, Paramount, TerryToons, UB Iwerksa, DePatie-Freleng, and televiison work laregely OUTSIDE Clokey, which my establish blog's dealing with, such as Hanna-Barbera, Jay Ward, TTV, DFE, Ed Graham, Clampett, Hamron, Rankin-Bass, Cambria,etc.,etc.,etc. Needless to say this will fulfil those not nminbterested in the topc of my other blog...things like voices, syndicatiuon and such. So hope you have fun.. ABOUT THE TITLE: I'm not actually into the term Toon/ Nor am I a snoot. But I do love palindromes. SJC