Friday, October 20, 2017

Animated places—other destinations

There is a ton of animation destinations out there. Many of them we haven’t even heard of! Here a few more animated destinations. This is the last of this series.

1. The Rocky and Bullwinkle statue— As I mentioned last time, the Rocky and Bullwinkle Statue is a very iconic destination. This sat on sunset boulevard until 2015. Today it has been restored and is now at LA City Hall but will return to sunset soon (let’s hope).

2. The Warner Bros Mural--- A mural that contained all the Warner Bros owned characters and was outside the WB studios.


Friday, October 13, 2017

Animated Places Part 2--- Stores

There has been many stores about our favorite animated characters but I am going to talk about 2. The Warner Bros Store and the The Dudley Do-Right Emporium.

1. The Warner Bros Store were around the country. The store contained a ton of Looney Tunes merchandise and would later contain HB stuff after Warner Bros bought Hanna-Barbera. Warner Brothers stores were replaced by Disney Stores which were replaced by Nickelodeon Stores. It just worsens. Today, there is no Nickelodeon Store.



2. The Dudley Do-Right Emporium was a store that sold Jay Ward items. It was run and owned by Jay Ward. In fact, you could see Jay Ward there. It closed in 2005. It was located at 8200 Sunset Boulevard which was close to the former Jay Ward Studios. It opened in 1971 and was right behind the Bullwinkle statue. That statue is going to return to that spot soon. Next post will be about statues such as that.


Thursday, October 12, 2017

Animated Places part 1-- Theme Parks

A while ago I talked about the Popeye town in Illinois. Here is a sequel to that: animated places. Part 1 is theme parks and tourist spots. This is not about Disney or Universal Studios. This is about forgotten or rarely mentioned or needed to be mentioned parks that are both closed and are not. Note: Six Flags and Jellystone Park are not included.

1. Bedrock City----This was the first park by Hanna-Barbera. I believer they're all closed but the first one that opened was in Custer City South Dakota near the Black Hills. It only closed in 2015 but it opened during the Flintstones 6th season in 1966. There was then one in Arkansas and that remains open. In these parks you got (or get depending on which one) to watch cartoons at the Bedrock Theater, eat Bronto Ribs and Bronto Burgers, see Fred and Barney's house as well as the slates and Gruesomes, play golf (mini), go bowling, and all sorts of other fun things.
Youtube video of home movies of a family Bedrock City in 1968



2. Hanna Barbera Theme Parks--- Hanna Barbera had many theme parks including King's Island and Hanna-Barbera Land. There is none now but they were very popular at one time.

Another video but of HB Land


3. 


Monday, October 9, 2017

Bugs Bunny and Petunia Pig

Honey Bunny was Bugs’ first official girl. Before her, Bugs was constantantly with Petunia (often on covers)! It’s kind of weird. Why? Why would Bugs want Petunia? Here are covers—







Wednesday, October 4, 2017

Chuck Jones: Our Greatest Silent Actor

Here is an article from the Atlantic. It's about Chuck Jones and it was published in 1984 and written by Lloyd Rose. 


CHUCK JONES IS one of the great silent clowns of the screen, though he has only once appeared in front of the camera. He did a walk-on under his own name (Mr. Jones) in Gremlins, a movie that is on one level a tribute to the art that Jones brought to its peak--the anarchic Warner Brothers style of animation. Jones worked at Warner Brothers as a director for twenty-five years, during which he developed Bugs Bunny and Daffy Duck to their full comic richness and, along with his scriptwriter/gagman Michael Maltese, created the Coyote and his prey and nemesis the Road Runner.
It's true that Jones's cartoons are violent, but his characters never bleed, never die, and are never permanently injured; they have an India-rubber resilience, the immortality of handballs. They also have wit, style, and humor. And it's getting harder and harder to see them. The newly packaged The Bugs Bunny/Road Runner Show, seen on Saturday morning, is (unlike its predecessor of the same name, which featured Jones's cartoons) filled mostly with the second-rate cartoons made at Warners by inferior directors in the early sixties, during Jones's final years there. (Now seventy-two, Jones has for the past twenty years produced his own television specials--the most famous of which is How the Grinch Stole Christmas.) Occasionally one of his cartoons flashes across the Saturday-morning TV screen. In such shabby surroundings the vitality and beauty of his work stands out even more boldly than usual.

The key to Jones's brilliance is that he is an actor--but he acts with bodies he draws rather than with his own. As a boy, he lived a couple of blocks from Chaplin's studios, and he used to go down after school and watch Chaplin film. From this he learned not only technique but, watching Chaplin do a take again and again, patience and fanatical attention to detail. Though he never became an actor, he was to continue and preserve the art of silent-screen comedy, through a series of more than 200 cartoons, up till the early sixties.
Bugs, Daffy, the Coyote, and the romantic French skunk Pep6 le Pew are not characters that Jones puts into cartoons as a novelist might put them into a story--they' re characters he plays. They all share certain characteristics: high energy, expressive eyes, exquisite comic timing, and the ability to surprise us. We recognize these characteristics in all of them as we recognize the physical presence of an actor in various roles. To give them individuality, Jones brings to each an element of his own personality. The Coyote represents his inability to deal with certain things in the physical world, particularly tools. Pepe le Pew is his dream vision of himself as irresistible to women. Bugs is the inoffensive guy who, when roused, is as unbeatable as Groucho Marx. Daffy, whose motto is "I may be mean but at least I'm alive," is the complete survivalist. Unlike a flesh-and-blood actor, Jones has the privilege of playing two or more characters simultaneously. Some of his funniest cartoons result from matching the unflappable and ironic Bugs with the desperate and treacherous Daffy. Daffy plots against Bugs; Bugs eludes him with lazy ease. Daffy, through greed, falls into trouble; Bugs, sighing, rescues him.
BUGS WAS DESIGNED by Charles Thorson at the request of the animator Ben "Bugs" Hardaway (and labeled "Bugs' bunny"), and his personality as a Brooklyn wiseacre cockily demanding "What's up, Doc?" was the creation of Tex Avery (who also invented the wild, nonrealistic Warner Brothers animation style). Jones, though, directed more than half of the Bugs cartoons made, and has said that Bugs "was something more personal and special to me ... than any other character I directed."
Jones's Bugs is easily distinguishable from that of any other director. His movements give the sense that he has real mass and inertia, that he weighs something, and Jones has frankly borrowed for him gestures from the great silent comedians (Keaton's eye movements, Chaplin's one-legged hopping turn). His Bugs also has sophistication--he is less the loudmouthed wise guy, more the gentleman anarchist. (In spite of the mad pace of his cartoons, Jones is never frenzied--his characters all possess a certain amount of dignity. This is why his work at MGM, where he went after Warner Brothers shut down its animation studio, isn't successful. The crudely violent format of the Tom and Jerry cartoons he was given to direct is at odds with his comic sense and style. His Tom and Jerry seem not to belong to the world established by the series; they're too sweet-natured.)
Jones always liked to start with Bugs in a setting natural to a rabbit (unlike, say, the Friz Frelengcartoon in which he is introduced tap-dancing down the street singing "She's the daughter of Rosie O'Grady"). Having limited himself with this rule, Jones developed a comic way of both sticking to and circumventing it: when he wanted Bugs in an exotic locale (Scotland, maybe, or the Himalayas), he just had him pop suddenly out of the ground, expecting to have burrowed to somewhere else. Bugs's grace under pressure is literal--he floats, dashes, and, in one lyrical moment in "Bully for Bugs," dances away from his persecutors. Bugs can rise to any occasion. In "What's Opera, Doc?"--arguably Jones's finest cartoon--he dons a blonde wig and a brass brassiere to sing a Wagnerian duet with Elmer Fudd (who has previously regaled us with "Kill the Wabbit!" to the melody of "The Ride of the Valkyries"). Bugs dances in this one too, as does Elmer. They do a little ballet together, while an ample white horse, supplying the fleshy operatic presence that the more slender protagonists lack, minces like a prima donna in the background.
Bugs does not need sound to realize much of the comedy of this--it's there in his expressions and gestures. But he does speak, of course, and the parody of "What's Opera, Doc?" would be lost without the music. Jones and Maltese actually wrote pretty funny dialogue (Pep6 le Pew's amorous murmurings-"Ah, la belle femme skunk fatale!"-are particularly good), but the cartoons, despite the bravura vocal performance of Mel Blanc as most of the characters, don't depend on it. Jones used to run his cartoons without the soundtrack just to be sure everything was clear even without the words. But he didn't take the final step into silent comedy until the Road Runner cartoons, in which the only spoken sound is "Beep! Beep!"



Jones and Maltese created the Road Runner in 1949, and Jones went on to make twenty-four Road Runner cartoons. They're minimalist in an amusingly practical way--Jones provided for the setting only what the story needed. This is basically a desert, with a highway for the Road Runner to run down. There are also, as needed, train tracks for the Coyote to get run over on, train tunnels for the Coyote to get run over in, and cliffs for the Coyote to fall off. And there is the occasional mailbox, so that the Coyote may write to the Acme Company and order devices with which to trap the Road Runner. (It hardly seems necessary to add that these devices not only always fail to catch the bird but invariably backfire in the Coyote's face.)
After the first few cartoons Jones didn't even bother to have the Coyote pursue the Road Runner from hunger. He just chases him, without reason or possibility of success. The bleak undertone of his predicament combined with the stripped-down environment gives the cartoons a modernist feel--sort of banana-peel Beckett. But essentially they're gag pictures: their comedy is mainly in the setup, the buildup, and the payoff of the physical joke, as well as the overall shape of the action. The Coyote runs a taut wire from the top of a cliff down to the road along which the Road Runner will pass. He dons a helmet with a tiny wheel on top of it. He headstands onto the wire. He quivers from side to side, searching desperately for balance, just missing it; we expect he will fall any second. He finds his balance. He settles into upside-down equilibrium. He is perfectly poised. The wire snaps. At moments like this, Jones stands with Keaton and Chaplin.
Jones achieved his comedy through the design and manipulation of drawings that move past the viewer at twenty-four frames a second. His timing was a matter of knowing how many twenty-fourths of a second to hold a pause or track a fall. As a director Jones didn't draw anywhere near the 8,000-plus pictures necessary for a six-minute cartoon. He did two or three hundred drawings, the beginnings, ends, and high points that shaped and defined each physical action. The rest of the work was done by Jones's animators (for most of his career they were Lloyd Vaughan, Ben Washam, Ken Harris, Phil Monroe, Dick Thompson, and Abe Levitow), who filled in and gave their own touches to the character's movements. These animators in turn had in-betweeners to do those last cells that account for the minuscule movements an arm or tail might make in three or four frames.
Disney, whose sentimental and hyperrealistic style the Warner Brothers cartoonists rejected, was nonetheless the father of their art: expression of character through movement. Jones (who worked for Disney very briefly, on Sleeping Beauty) considers The Three Little Pigs to be the breakthrough film. The pigs all look alike but are distinguishable by their postures and expressions. Jones calls this "character animation," and has said it is "unique to America, like jazz," laying claim to it as one of our few native art forms. The Warners cartoons, like those of Disney, were made to be shown in movie theaters to adult audiences. Those audiences wept at Snow White in 1938, and an adult today watching a Jones cartoon from the fifties may laugh till tears are in his eyes.
Lloyd Rose writes on film and theater for The Atlantic.

Tuesday, October 3, 2017

Bullwinkle and The Simpsons

Image result for bullwinkle simpsons tv guide
Matt Groening's biggest inspiration was Jay Ward's Rocky and Bullwinkle as he said in these interviews that I can use thanks to The Simpsons Archive.




By Rob Holly
"The Simpsons' Father Speaks"
© Cards Illustrated, Issue 9, September 1994

Which ones in particular did you grow up with?
Groening: All the Warner Brothers cartoons: Bugs Bunny, Daffy Duck, Road Runner. I was also a big fan of Droopy by Tex Avery and the Fleisher Brothers' Popeye and Betty Boopcartoons. Of course, Disney features, shorts, and I think the biggest influence as far as my work in animation was Rocky and Bullwinkle.
Rocky and Bullwinkle was a cartoon that was very cheap looking, but it worked anyway. And I figured that what made this cartoon work was great writing, great voices and great music, and that the animation didn't matter as much.



By John W. Kim
"Keep 'em Laughing"
Groening's inspiration to create a show came from such classic television animators as Jay Ward. "When I saw Rocky and Bullwinkle I realized that you didn't necessarily have to be a great cartoonist or artist to make a great cartoon," says Groening. "All you needed was great writing."


Also before the end of this post, here is some trivia you may not have known

Homer, Abraham, Bart and Chester Lampwick's middle intial `J' is a tribute to Rocky & Bullwinkle (Rocket J. Squirrel & Bullwinkle J. Moose), whose initials were in honor of their creator, Jay Ward. 

Thanks to The Simpsons Archive



Monday, October 2, 2017

Matt Groening and Mel Blanc

Image result for matt groening
Image result for matt groening mel blanc

Matt Groening

By Erik H. Bergman
"Prime time is heaven for 'Life in Hell' Artist"
© TV Host, December 16, 1989

Credit: The Simpsons Archive

Groening the student put down his pen and paid attention for at least one day. He attended the same school - Portland's Lincoln High - as Mel Blanc, voice of Bugs Bunny, Daffy Duck, Barney Rubble and others. He recalls how Blanc spoke in 1969 at the school's centennial. Everything from hair length to Vietnam war protests to racism made for a divided school. Blanc's assembly "was one of the most memorable, happy events in a raucous time. Virtually everybody in the school, from the hippies to the hoods to the teachers to the scowling administrators, was laughing. It was the one time the school was really united."

Sunday, October 1, 2017

The Mysterious Voyage of Homer: What's Opera Doc? of The Simpsons






The Mysterious Voyage of Homer: What's Opera Doc? of The Simpsons


It took a while to make this episode. Here is what Robert Vasquez had to say.


Robert Vasquez:  Well! Now we know why it took so long for this episode
   to appear. I imagine Gracie Films treated this episode as an
   extra-special event, like Chuck Jones and "What's Opera, Doc?" The
   backgrounds in the hallucination were breathtaking, and Johnny Cash
   was better than perfect as the coyote spirit-guide. I only wish I'd
   taken a look at my dad's Carlos Castaneda books so I'd have some more
   insight into the parody.




Special thanks to The Simpsons Archive for permission to use this

Saturday, September 30, 2017

The people behind the Simpsons on Classic Cartoons

I am a Simpsons lover. I love the Simpsons. I've watched every one of the Simpsons episodes. I watch new episodes each week and never miss them. I am now on my next series of posts. This is on interviews from people who worked on the Simpsons. These are about interviews from these guys and their mention, credit, or quote about classic characters, creators, and other topics. There is multiple topics that these are mentioned or about.

The first part is an interview with Matt Groening is all about this subject so it's getting it's own post.


"The Simpsons' Father Speaks"
© Cards Illustrated, Issue 9, September 1994

By Rob Holly

Matt Groening had an idea. He would have a cartoon of your realistically average family, one that fought, burped, vegged in front of the TV and basically acted like a true dysfunctional American family. Their name: The Simpsons.
After a successful run of shorts on The Tracey Ullman Show, The Simpsons got their own show on Fox. They've been wreaking havoc in front of a national audience for more than five years.
Groening recently talked to CI about the show, the mega-merchandising blitz, the cards, comics and other such nonsense.
How did you get started in the business?
Groening: I feel like my whole life has been organized around the idea of making all the time I wasted ultimately not a waste. I watched way too much TV. I justified it, finally, by working in television. I watched a lot of cartoons, and I read a lot of comics which I justified by growing up to do the same thing.
I really love cartoons and things associated with cartoons because they're over-looked. There are a lot of people out there who are trying to get cartoons to be taken more seriously and call it art. To me, that's not important. Cartoons are cartoons, and they work on their own, by their own standards of excellence. I don't need to justify them as being more important by some other more serious standard.
Which ones in particular did you grow up with?
Groening: All the Warner Brothers cartoons: Bugs Bunny, Daffy Duck, Road Runner. I was also a big fan of Droopy by Tex Avery and the Fleisher Brothers' Popeye and Betty Boopcartoons. Of course, Disney features, shorts, and I think the biggest influence as far as my work in animation was Rocky and Bullwinkle.
Rocky and Bullwinkle was a cartoon that was very cheap looking, but it worked anyway. And I figured that what made this cartoon work was great writing, great voices and great music, and that the animation didn't matter as much.
How does your family feel about your success?
Groening: My parents, Homer and Marge, sign autographs from time to time, so they're pretty gratified.
So Homer and Marge are named after your parents?
Groening: Yes.
How about the kids?
Groening: I have two sisters, Lisa and Maggie, but I also have another sister, Patty, and a brother, Mark, who I have not humiliated yet. Our family really isn't anything like The Simpsons. Out of all the hundred-some odd episodes we've done so far, my family has never been bothered by anything on The Simpsons, except one time my Dad called me up and said, "When the family's car broke down in the desert, Homer shouldn't have made Marge carry that flat tire back to the gas station." He was really bothered by that, and I said, "Dad, this is a show where Homer skateboards off cliffs and strangles Bart and stuff, and that's what bothers you?"
In the Bongo Comics, there are a whole lot of comic book in-jokes. How long have you been a comics fan?
Groening: I grew up with comics. I was looking at them before I could read. My older brother Mark turned me on to all the great comics in the '50s. My eyes were bulging at MADwhen it was a comic book, and all the old E.C. horror and science-fiction comics, along withLittle Lulu and Uncle Scrooge. I devoured everything.
There was a drugstore at the bottom of the hill where I lived where a lot of kids would sit for hours reading comics. I got through every one of them. I started with Archies, because those are the fastest. You could read Archie in about five seconds. We had nothing else to do, so we just sat there, and that's when I got into the more obscure titles.
What we do in the comic book company is reward you for paying attention. If you don't pay attention, if you're sort of drifting through and looking at whatever is in front of you, you'll still be amused, bit if you actually concentrate and squint and look closely at what we're doing, you'll find that there are extra levels, hidden jokes and sneaky details that we stick in there. We do it on the TV show with various signs and quick background gags. We do it in the comic books with lots of references to people that you'll only get if you've read a lot of comic books. That is a tribute, by the way, to the diligent work of Steve and Cindy Vance and Bill Morrison, who know the history of comics much more than I do - especially Steve and Bill, who have these incredibly arcane discussions of Flash #267, and when his costume changed, and bizarre villains that were only in two or three different issues. Amazing.
Which comics are you reading today?
Groening: I'm reading Madman AdventuresBone, and I read a lot of the independent comics, like Peter Bagge's Hate, Daniel Clowes' Eightball, and Joe Matt's Peepshow. I'm very interested in the autobiographical trend in independent comics. I'm less interested in fantasy. One of the things we're trying to do with Bongo is bring humor back to the comic book world, because so many of the great humor titles have died or mutated into something else. Everything doesn't have to be grim and solemn and filled with lots of extra heavily-inked lines.
How much control or input do you have with Bongo Comics?
Groening: We're whipping these things out so fast. I wouldn't use the word control for what I do. I look at everything and make little suggestions for tinkering with things.
Is the same team at Bongo Comics responsible for the card sets?
Groening: No, the card sets are masterminded by Mili Smythe. She and I go way back to the mid-1980s, when we worked on horror movie posters and greeting cards together. She is a great writer and art director. We tried to make the cards fun for fans of the show, and make them work on their own as little jokes and documents of the show. We know that we've done a great job, because the writers of the Simpsons TV show are the biggest collectors of the cards. They have them all up on their walls and offices. You know that if you make a TV writer laugh, you've done your job, because they're such a sour bunch.
Why was the decision made to switch from Topps to SkyBox?
Groening: Topps did a lousy job on the cards, I thought. Our relationship with SkyBox has been terrific. That's why I'm so negative about Topps. My name was on every one of those cards, and I didn't get to see them before they came out. They did really stupid things, like put quotation marks in the dialog balloons, which you don't see except if you don't know what you're doing."
Did you collect a lot of card sets as a kid?
Groening: Mostly the various monster cards. I had a huge stack. They were stills from old movies with very silly captions.
Are you collecting any now?
Groening: I collect most of the stuff put out by Kitchen Sink, the esoteric stuff, and I bought a bunch of Wizard of Oz cards. I buy a few packs of any card series to see what they're doing.
Congratulations on your 100th episode. Is there any set time limit to how long you'll be doing the new shows?
Groening: We've been picked up for another three years, so we'll be on for another 66 episodes. Yikes! It makes me tired just to contemplate that.
So maybe we'll do a few more series of these cards. We're having a lot of fun. In the first set, I did special signed cards. I can't remember how many I did - I think 400. It seems like 40,000! They're all different. In the new set we've got Smellovision cards, which are pretty funny. In fact, I think the second series of cards is even better than the first. We have such a kick doing them. Mili masterminded the whole thing with the help of Jamie Angell. We sat up quite late several nights in a row coming up with bizarre Itchy & Scratchy cartoon titles - "Cat On a Very Hot Tin Roof," that kind of thing. It's a lot of fun. I didn't know that cards could be that much fun.
Is there a Simpsons syndication deal?
Groening: The Simpsons will be on in the fall on your local channel in the early evening. You'll be seeing The Simpsons five or six times a week.
I gotta tell you, I work on these shows, and everybody who does has the same experience. We try to put so much in every episode that they change when you see them again. One of the other aims that we have for this show is to make them hold up to repeated viewing. We live with these jokes and sight gags for months because it takes about six months to do a single episode. Obviously we work on many episodes at once, and for a joke to actually make it into the show means there's something we really love about it. The show goes by at such a fast pace that there is no way you could get every joke on one viewing. We think the shows hold up as repeats.
And of course I have this secret scheme which is, we put so many jokes in there that there's no way kids can get them unless they've been paying attention in high school or college. I want to see what happens when kids who have grown up with The Simpsons come back and watch it in 10 or 15 years and say, "Oh, my goodness, I didn't realize that there's a whole other level."
Do you collect a lot of toys?
Groening: Yes, I do. I have two sons who are five and three who love the Jurassic Park toys and Mighty Max. I have to buy extras for myself to play with. When we go to the toy store I say, OK, we have to buy three toys, one for you, one for you and one for me.
The success of The Simpsons has opened up the market for several other animated projects. How do you feel about that?
Groening: Any time there's an animated TV show that doesn't look like it came from the big cartoon factory, I love it. I like that there's now room for all these individual styles and points of view. TV, when I was growing up, was pretty dismal when it came to animation. I think right now the stuff is really entertaining. It doesn't mean it always works, but at least they're trying something different.
I think they're gearing it more toward the adult market than they used to.
Groening: If anything, I think that's one of the mistakes people in animation are doing. Animation can be for adults, but I think you can't ignore the fact that kids love the medium. It makes me really happy to know that my drawings make a 3-year-old laugh, as well as a cantankerous 53-year-old.
Actually, I have an idea for a show that's science fiction satire. Not an easy sell, but I think it would take advantage of the talents and inclinations of the kinds of people that go into animation. I notice on The Simpsons that whenever we do a scene with a motorcycle leaping over a cliff, all of a sudden the animation gets really good, because that's obviously what the animators like to draw. It would be fun to take advantage of a show that would have lots of explosions and mutants and robots that was also funny. What The Simpsons is to The Flintstones, this would be to The Jetsons.
It's a dream. What I like about animation it's a depiction of a reality that doesn't exist in any other form. Movies are, on some level, a recording of something that really happened, but the world within animation, the world that's depicted in animation does not exist. There's no world in which Bugs Bunny runs around and goes down holes. To me, animation is very dream-like, and I'm really fascinated by that idea. One of the things I'd like to do further down the line is toy with the dream-like quality of animation.
Who do you think would win a fight, Bart or Dennis the Menace?
Groening: (Laughter) You know, Bart's pretty much a wimp, actually, but yeah, Bart would win. Bart would not fight fair.
So you think he could kick MacCauly Culkin's butt?
Groening: Definitely. And probably will.
Who would play Bart in the movie version?
Groening: After The Flintstones came out, I said, 'Oh no, now I know there'll be a live-action Simpsons proposed by somebody,' but an actor to play Bart does not readily spring to mind. Although I must say, the actors who do the characters' voices, look to me like The Simpsons, I imagine Julie Kavner with a big blue hairdo, and Dan Castellaneta, if he gained about 100 pounds and had a slightly heavier beard and were more bald, he'd be Homer Simpson. They only one who doesn't really fit in is Nancy Cartwright, who is Bart. Bart is not a young woman.
Any words of advice to aspiring animators or writers?
Groening: If I had any advice to people who are trying to make it in comics or cartoons, I would say, do what makes you laugh, don't try to make other people laugh. It's something that took me a long time to learn. I didn't start making any progress in my work until I gave up the idea of trying to write jokes that would make other people laugh and just started doing work for myself, because that's when you start writing from the heart, and then people will get it, strangely enough, and they will respond to it much more strongly.


Jeepers, Creepers, Where'd Ya Get That Card?

Fans of The Simpsons will be scrambling about this August in search of The Simpsons II, the second card set based on the animated residents of Springfield. For those of you who have collected the cards but haven't picked up on Bongo Comics, now is the time to start. SkyBox and Bongo are teaming up in a joint effort to bring you exclusive cards available only in Bongo Comics. The cards are numbered B1-B6 and, starting with The Simpsons #4, will be inserted in the Bongo Comics. Look for the cards in The Simpsons, Radioactive Man, Itchy and Scratchy, and Bartman this summer.
Transcribed by Bruce Gomes
Credit: The Simpsons Archive

Wednesday, September 27, 2017

Monday, September 25, 2017

June Foray Stories Part 3


The third part of June's stories. If you knew June, please comment so I can tell your story!


Stu Showstak:
I met June through both Janet Waldo and Mark Evanier.  I was so lucky to have her on my show as much as I did.  She was a wonderful lady.  I think the one thing I didn't know about her while she was alive was that she was JEWISH.  She was a confirmed atheist, but she was born Jewish.  I just found that out a few weeks ago.


Mark Arnold:
I met June Foray twice. The first time in 2009 at Comic Con International in San Diego. We sat side by side at the Van Eaton Galleries booth signing copies of our respective BearManor Media books. Mine was "Created and Produced by Total TeleVision productions"; hers was "Did You Grow Up With Me, Too?" We spoke a bit while we signed. The second time was in 2014 at Van Eaton Galleries where she was signing copies of Darrell Van Citters "The Art of Jay Ward Productions". She was very elderly even at that point, but her sister and brother-in-law were also still with us at the time.


Gavin Freitas:
Here's my story with June Foray... Started back in 2003, I would commute from San Fransisco to Woodland Hills to record June Foray, when I was making student films. While visiting her home, I noticed all the photos and art cels on her walls. She had a lot of interesting stories about her life. I decided to film her talking about her past voice over and acting gigs. The more I would film and come visit June in LA, the more people starting getting involved with the project. It started as a friendly interview that would be about 5 minutes with clips, to a running time of 65 minutes. I couldn't cover her life stories in a 10 minute documentary. I interviewed Phil Roman, Bill Melendez, Eric Goldberg, Tom Kenny, Matt Groening, Bill LittleJohn, Tom Sito, Jerry Beck, Art Leonardi etc. These are people I admired and was excited to hear their side of the story. So 8 plus years later I finished the film and started having screenings. I got to screen it with June and her family, and that was the greatest feeling ever. So thank you June, You have made my life, and incredible one. Huge shot outs to Dave Nimitz, Stephen Nasto, and Tyler Knudsen, Brooks Knudsen, and my wife Rachel Freitas for making it all happen.

For the link to the website about the documentary: http://www.juneforaydoc.com/2017/07/my-life-with-june-foray.html


Also, another great story of June is on our friend Mark Kausler's blog which you will find on my blog side bar.

Thursday, September 21, 2017

June Foray Stories Part 2

The second part of my June Foray stories. I've got many readers and I have been given stories by other well known people which I will include. I'd love to here more stories from you readers so remember to email comicspies@gmail.com and also they don't have to be about you meeting her. It also can be a story that you read about June from an interview but it still must be something most of the readers may not know.

Jerry Beck:

How did you meet June Foray?

I first saw June Foray in person when I moved to LA in 1986. She and Bill Scott in person, live, right in front of me doing Rocky and Bullwinkle in a mall (The famous Sherman Oaks Galleria) trying to attract people to a set up there, for Asifa, selling cels for the benefit of the animation organization they co-founded back in the late 1960s. Today I am the president of that organization, Asifa-Hollywood. 

 Do you have any memories with her? 

June and I became friends slowly over the last 30 years. "Slowly" - partially because I'm shy around big celebrities - which she certainly was. June would be at every Hollywood event, every animation event, every Academy of Motion Pictures event. She would always be the first to arrive. Whenever I arrived she would call be over to her table, or where she was standing. She always made me - and everyone - feel so special. 

Do you have or know of any stories that involve her that my readers may not know?


One thing readers should know is how passionate she was about animation. She was the medium's champion when it was belittled or ignored or threatened. She fought to maintain the Best Animated Short award as part of the Oscar telecast (most people do not know how long it became perilously close to being wiped out). She established the Annie Award (through Asifa Hollywood) in which the animators honor their own. She, a voice actress, knew more about animation's history -  past, present and future - than most animators and artists I knew. We bonded on that - and I will think of her every day as I pursue my work with Asifa, and in preserving animation history. 


Joel Shapiro--
I do have several stories that your readers will enjoy. The very first time I met Ms. June Foray was about 17 years ago. Ms. Foray was one of our guests for that year's JFG. The event was held at the Mission Capistrano. She was and will always be an AMAZING person! We were at this singing waiters restaurant nearby one evening. And, June go up onto the bar and was moving all around performing like crazy. Ms. Foray performed pretty much all of her famous voices, such as Witch Hazel, Granny, Natasha Rocky the Flying Squirrel, etc. You name it, she did it! And, she was 82 years old at the time going on 42!! That's old-school as you're going to get. Another other time I met Ms. Fray was when a few of us and our friends were going to the Hollywood Bowl to see Bugs at the Symphony. June Foray was gracious and fun as always. She sat with us in the park area just outside the Hollywood Bowl. We took pictures with her outside and later inside the dressing room with maestro George Daugherty and his partner David and their beautiful Golden Retriever.:) Linda Jones brought Ms. Foray onto the stage just before the evening's performance began. It was heaven.:) The other time I met June Foray was at our CJ102 celebration in Glendale, CA back in 2014. We held a very special 102nd anniversary celebrating the life and times of Chuck Jones. The event was held at the Egyptian Theatre in downtown Glendale, I believe. Ms. Foray was in attendance,along with Marian Jones, Chuck Jones' widow, as well as the entire Jones family,  Robert McKimson, Jr., the family of Abe Levitow, Eric Goldberg, Bob Kurtz, Leonard Maltin, George Daugherty,  and even the grandson of Leon Schlesinger, to name just a few.Several of Chuck Jones' glorious shorts played on the screen. It was a night to remember!  Kamden,  even thought Ms. Foray is no longer physically with us, her charm, humor and legacy will live on. Kamden, thank you for allowing me to share my stories with your readers. Be well.

Glen Banks:

So one day I was driving June home from her TV appearance at our studios in Long Beach, CA.  It was pouring rain.  I was pretty upset about the possible headlines: "Schnook Indicted in Death Of Legend June Foray; Stupid Accident In The Rain!"  So I was being extra careful behind the wheel.  Suddenly, June yells out (in character as Natasha) "Quick, dollink!  Turn left at light!  Boris is AFTER us!"  I was in love.



Wednesday, September 20, 2017

June Foray Stories Part 1

Thanks to all who participated and sent your stories. I am posting every story sent. I have also asked many well known figures that knew June. Kept sending stories to comicspies@gmail.com.


My Story: As many of you know, I am very young. My story about June is very special. When I was 9, I had a large cabinet of books on animation. I had tried to read each one of them but they were all so complicated. I couldn’t get through 2 pages of Chuck Amuck or any book by Jerry Beck because they were so complicated to me. Then, my sister gave me June’s autobiography. It was the first book on animation that I had ever read because of how easy it was read. Later, I told June on the phone that her autobiography this story and she said “it figures”. I laughed.
Carol Erickson:

How did you meet June Foray?

I was around June many times from the mid-90's to the last time in about 2014. I first met her at an event at the Chuck Jones Gallery in Newport Beach. She was a delight and a treat to be around. Subsequently, I saw her at a Gallery event with Phil Roman in Fashion Island, by herself in Orange, at the Newport Beach Film Festival in 2012 when she was recognized by the Chuck Jones family as part of the celebration of Chuck's 100th birth anniversary. The last time I saw her was at the Hollywood Bowl for Bugs Bunny at the Symphony. The photo of the two of us together is a treasure. Do you have any memories with her? My fondest memories of June is when I didn't know her as "June", but as the voice of Rocky, and Natasha, and Witch Hazel and Cindy Lou Who. At the Newport Beach film festival, I was charged with waiting for her car and driver and escorting her to the venue along with David N. She is such a time little thing, and starting to get a little frail at that time, but she was so warm and welcoming and so darn funny. Do you have or know of any stories that involve her that my readers may not know? Nothing in particular.


Robert Patrick:

My "story" about June Foray are pretty pedestrian -- I met her through work in the late 1990s at a Jones Family Gathering here in Orange County. She joined us for dinner at a restaurant on Balboa Peninsula in Newport Beach where the waitstaff sang opera. As you know, she was a tiny woman, so Craig had to lift her up onto the bar stool where she held court for the better part of the evening. 

Of course, she slipped in and out of her many characters--it was amazing to look at her and hear Witch Hazel or Rocket J. Squirrel or a Smurf talking. She was lively, funny, a bit bawdy, and so endearing. Everyone came away loving her. It was easy to see why Chuck Jones enjoyed working with her so much. 

Over the years since then, we met at work functions and my contact was limited to simple pleasantries. 


Tuesday, September 19, 2017

Business Cards part 3

This is the last group of animation business cards. Remember to send June Foray stories to comicspies@gmail.com.

Matt Groening

David Depatie
Ray Abrams








Animation Business Cards part 2

More business cards as I promised. Remember to send June Foray stories

Walt Disney


Ollie Johnston
Leon Schlesinger







Monday, September 18, 2017

Share your June Foray Stories

As you know, June would be 100 today. In remembrance of June, I am going to post a series of posts that are stories about June. The stories are from you. If you knew June or know a story that other readers may not know, please email me at comicspies@gmail.com and I will post your story. You can send me things like--
1. How you met June
2. A story that June told you
3. An interesting memory that you have with June
4. A story that you may have read or heard of in any way that involves June (ex: from an interview or other resource) but it has to be a story that most hardcore fans do not know.


Business Card's of people in animation


Here are some business cards of many people in animation. Bill Hanna and Joe Barbera had a ton of versions of their cards. I only put a few of those. More coming soon. 
Bill Hanna And Joseph Barbera






Bob Clampett



Mel Blanc

Thursday, September 14, 2017

The Bugs Bunny Show Full Episodes (enjoy)

There is two original Bugs Bunny Show episodes as well as Dukes of Hazzard which were included with the episodes.




Tuesday, September 12, 2017

Headline Theater--- Looney Tunes Finger Puppet Commercial

Cool Puppets. Came with Crest toothpaste. But there is no Bugs Bunny, Daffy Duck, or Porky Pig. You can't have Looney Tunes Puppets without them, what a shame.



Thursday, September 7, 2017

Blanc Began as a Tyke

Article from Kentucky New Era. We all know the story but it tells us more including how much he was pain for Picador Porky.




Wednesday, September 6, 2017

Headline theater-- Daffy and Foghorn Interviews with Pat Paulson

These I don't know who animated and I also don't know why Foghorn Leghorn is so small. He is like a midget. These were interviews with Daffy and Foghorn. They are interviewed by Pat Paulson.


Sunday, September 3, 2017

Merlin the Magic Mouse Watch



Well we have all seen a Mickey Watch but what about a Merlin the Magic Mouse watch? Who wants one? This was a vintage wind-up sheffield watch. Yep, Merlin and Cool Cat (below) got there own wind-up watches. A few characters got Sheffield watches and Merlin was one of them. Sherton made the Cool Cat one. Sherton made a watch for most Looney Tunes characters.









Friday, September 1, 2017

The Most Incorrect thing in Newspaper History




OK as you can tell, I do a lot of research on incorrect credits but this one is the worst. This was part of a countdown to 2000 where each day they would do an event from each year from 1900-2000. There is not one thing here that is factual. According to Yowp, Bray made that film after Winsor Mccay made Gertie the Dinosaur. He credited himself for a lot of things. Bray had stated he made the film in 1910 but yet the film was distributed in 1913. Also Max and Dave Fliescher didn't create Popeye, E.C. Segar did. And of course the worst credit of all, the credit given to Walter Lantz as the creator of Bugs Bunny. The closest thing to Bugs Bunny that Lantz ever did was hire Ben Hardaway.
If you see more mistakes, comment below.

Tuesday, August 29, 2017

Ann-Margrock Presents ads

Ann-Margret was probably the most memorable guest star on The Flintstones and there were a bunch of newspaper and magazine ads promoting the episode. Here are a couple:



Monday, August 28, 2017

Ray Bradbury owned Bugs Bunny Show cel with Pluto

This cel is said to have Pluto and the looney tunes characters in the same cel. It clearly is multiple cels that they thought were one. It could be the same cel but I doubt it. It seems to be the Bugs Bunny Show lineup with Pluto (if you know the short please comment below).


Sunday, August 27, 2017

Wrong credited Ray Bradbury owned cels


When the Ray Bradbury's Estate was sold, he had a lot of stuff. He had Disney, Warner Bros, Hanna-Barbera, Jay Ward, and basically every other studio. The weird thing was that some of them were wrongly credited as Hanna Barbera cels. I also don't know what some of these Pink Panther shorts are so if you know, please say.
Here are the cels and there titles wrongly credited to HB:

Ray Bradbury Personally Owned Hanna-Barbera Animation Cel Featuring The Pink Panther -- Matted to 13'' x 10'' -- Toning to Mat, Cel Is Near Fine -- With COA From Estate


Ray Bradbury Personally Owned Hanna-Barbera Animation Cel Featuring The Pink Panther -- Matted to 13'' x 10'' -- Toning to Mat, Cel Is Near Fine -- With COA From Estate


Ray Bradbury Personally Owned Animation Cel -- Featuring Hanna-Barbera's Wile E. Coyote & Road Runner -- Signed by Chuck Jones -- 12 .25'' x 10'' -- Near Fine With COA From Estate




Friday, August 25, 2017

Snippy's Scissors

Snippy's scissors were one of few brands to use popular cartoon characters as scissors. And they were sold in whitman and gold key comics. Woody Woodpecker was the only character that was not warner bros. Below is the comic ad and a couple of the pairs of scissors.