Stan Freberg: 1926-2015

There have been a lot of comedians, comedy writers, and brilliant witty minds over the course of the last 50+ years. Comedy is subjective and there are many styles of humor...and there are certainly many performers of those many styles of humor. Comedy ranges from the gentle to the provoking...the folksy to the urbane...parody...satire...it all goes into the mixer. Satire is not everyone's cup of tea, though, Stan without question was a master satirist. The ironic thing about it all is most satirists are entertaining and witty, yes, but on some level a satirist can be off-putting or just too aggressive/relentless in their efforts (coming across as being bitter or vindictive). Even though Stan is quoted as describing himself as a "guerrilla satirist" I don't happen to think it fits. I think Stan's unpretentious personality shined through on all of his records...whether it be a song or a comedy sketch...and even if the intent on Stan's part happened to be that of a savage, take no prisoners style, you couldn't help but be entertained by the results and that's something, in my opinion, that elevates his material above any of his competitors in the field of satirical entertainment. I'm sure he's said things in his recordings that a listener may not have agreed with...but I bet those same listeners found themselves laughing at something they heard, nevertheless.

On April 7, 2015 Stan Freberg passed away at the age of 88 (born August 7, 1926). In the above photo I'm displaying the must-have 1999 project titled Tip of the Freberg. I became familiar with the name of 'Stan Freberg' by accident...it happened during the 1990s at a time when I started to pay more attention to the opening and closing credits of cartoons. Nickelodeon used to air Looney Tunes cartoons and during several episodes some of the cartoons from the mid to late '60s would get some air-time. These cartoons were produced after the exclusive screen credit for Mel Blanc had expired and we got to see more of the names of Mel's co-stars appear on-screen.

Well, like I said, I seen the name 'Stan Freberg' in the opening credits of a late '60s Looney Tunes cartoon.

Coincidentally a certain collection of Christmas comedy songs came into my possession in the early 1990s, too. The various artist project, titled Christmas Comedy Classics, originated in 1985 but I didn't a copy of it until the early 1990s. Stan has 2 recordings on that project...the whimsical rendition of "Nuttin' for Christmas" and the gutsy "Green Christmas". Talk about 2 recordings that are the polar opposite of one another! I later discovered that Daws Butler played the part of Bob Cratchit in "Green Christmas".

As I've pointed out a lot of times I didn't begin to become familiar with the names of voice actors/actresses until the 1990s...and so I was still learning a lot about those that worked alongside Mel Blanc in the Looney Tunes theatrical cartoons. In 1949 Stan joined forces with Bob Clampett to create the puppet series, Time for Beany. Stan provided the vocals for half of the characters. This program also featured the vocal talents of Daws Butler and he voiced a lot of the other characters. The 2 main roles for each voice artist happened to Beany and Captain Huffenpuff (voiced by Butler) while Stan voiced Cecil and Dishonest John. Years later an animated program based on the puppet series debuted on television. The animated series, Beany and Cecil, didn't feature the vocals of either Stan nor Daws Butler. By the time the animated cartoon had premiered Daws had become the top voice artist for Hanna-Barbera and Stan had moved on to advertising all the while keeping his lengthy recording career intact. In the picture above it's Stan's partial autobiography...the book covers his meteoric rise up the ranks amongst voice-over artists in the late 1940's and all the twists and turns his career took on through the early part of the 1960s.

The book arrived in 1988...but yet it cuts off in the early 1960s. That in itself is comical...and there's never been a sequel that picked up from the early '60s...hopefully there's going to be some sort of memorial magazine (hint, hint) that'll be released at some point this year that can offer highlight and insight, in book form, into all of Stan's activity from the mid '60s right on through his final days.

Until such a memorial magazine comes along, though, it's best to research his career on your own and along the way enjoy the comedy recordings and television commercials he worked on.

Some of the animated cartoon characters that Stan became associated with over the decades included Pete Puma, Junyer Bear, Chester the Terrier, Bertie the Mouse, and Tosh, one of the Goofy Gophers (all appearing in the Looney Tunes franchise). In addition to those roles Stan also gave voice to the Gambling Bug in a cartoon titled "Early to Bet" and one of the chefs in "French Rarebit". Each of those cartoons directed by Robert McKimson. He voiced the Beaver in the Disney film The Lady and the Tramp and for pure trivia sake he voiced a cattle baron in a Tom and Jerry cartoon titled "Posse Cat".

I had taken a series of photo's of myself in late March of this year for future blogs that I happen to write and given the recent death of Stan Freberg I felt this particular image to be perfect. I happen to feel it can be interpreted as a bit of visual humor related to Stan's hilarious parody of "The Banana Boat Song" (also known as "Day-O"). I'm either displaying my euphoria over the bunches and bunches of 'ripe banana' or I'm frightened by the black tarantula...take your pick. You can hear that song on various sites on the internet...I heard it for the first time on one of the CD's in the 1999 career retrospective I posted in the photo at the start of this blog. Tip of the Freberg...that's the name of the box set...I already mentioned the title of the project and it's year of release in the opening and I'm mentioning it once more...I mention it just for the sake of the facts...just the facts...and that of course should make any fan of Stan Freberg instantly think back to "St. George and the Dragonet"! This recording happened to be a sketch comedy featuring Daws Butler and June Foray as co-stars. Stan and company made 2 additional Dragnet parodies: "Little Blue Riding Hood" and "Christmas Dragnet". The box set provides a lot of material from Stan's radio program from 1957 and some of his recordings from the "pay radio" concept album Stan issued in the mid 1960s. Some of the biggest personalities of the 1950s found themselves being a target of Stan's humor. Ed Sullivan's program received spoofing by Stan in a sketch called "Most of the Town". Lawrence Welk became the target in the hilarious sketch "Wun'erful, Wun'erful!". Elvis and a host of other rock and roll performers had their recordings parodied by Stan...and then there's the incredible take off on Arthur Godfrey in a sketch called "That's Right, Arthur" that had never been heard until the 1999 box set came along. Among the many highlights in the box set is "Elderly Man River"...it's a prophetic comedy sketch featuring Stan and Daws. In the sketch Stan attempts to sing "Old Man River" but the censor (Daws Butler) objects to so many words and phrases that the song is re-titled "Elderly Man River". It's years ahead of it's time...it skewers political correctness decades before the movement began to latch on and grow tentacles in pop culture.

The box set features recordings lifted from Stan's 1961 album, Stan Freberg Presents the United States of America: The Early Years. Paul Frees does the narration of the project. Ironically the supporting players do not include Daws Butler but June Foray is among the cast as is Marvin Miller, Jesse White, Walter Tetley...just to name a few. It's largely regarded as Stan's masterpiece. A follow-up arrived decades later in 1996 (!) to nostalgic waves of support. By this time Stan had become an icon in the advertising business...his funny, sarcastic, and iconoclastic television and radio commercials became Clio winning slices of comedic salesmanship. The Clio is the top award in the advertising industry.

It was in the 1990s that seen Stan become a radio commentator, of sorts, on NPR stations in a series of essays airing under the Stan Freberg Here... banner. Several of those commentaries appear on the 1999 box set. Four years earlier, in 1995, Stan became the second host of the syndicated old-time radio tribute program When Radio Was (Art Fleming had been the previous host). I have fond memories of this program, as hosted by Stan Freberg, and I remember listening to episodes of it on a local AM radio station at the time. It aired from 11pm to Midnight. Fred Foy, of The Lone Ranger fame, provided the introduction for each of the episodes Stan hosted. The intro included some of the dialogue Fred used in his intro's for The Lone Ranger. I assume Stan's affiliation with old-time radio and his reputation as a champion of 'theater of the mind' entertainment happened to be the big reason he was picked to host the old-time radio program.

I got word of Stan's death like most of the other millions of people...through social media and internet reports. I couldn't believe the news, though, because in my mind I had always pictured Stan to be in good physical health in spite of his older age. In one of the internet reports it indicated that he may have been suffering from pneumonia...but other than that there hasn't been any official statement given as to the cause of death. Stan had a long and successful career...his recordings are going to live forever. If you had never heard of him until today then do yourself a favor and visit YouTube or Amazon and get yourself familiar with his contributions to comedy.

Here's a brief time-line:

1926: Born on August 7th.

1944: Arrived in Hollywood, California (age 17).

1946: voices Bertie in Chuck Jones' "Roughly Squeaking".

1947: voices Charlie Horse in Bob Clampett's "It's a Grand Ole Nag".

1948: Succeeded the late Kent Rogers as the voice of Junyer Bear; "What's Brewin', Bruin?".

1949: helped create television program Time For Beany; Voiced Cecil and Dishonest John, among other puppet characters; remained in production until 1955 and received multiple Emmy awards.

1951: Released his first recording for Capitol Records, "John and Marsha".

1951: voices the Gambling Bug in the cartoon "Early to Bet".

1952: voices the dimwitted hunting dog in the Bugs Bunny cartoon "Foxy by Proxy".

1952: Released "Try", a parody of Johnny Ray's hit single, "Cry".

1952: voices Pete Puma in the Bugs Bunny cartoon "Rabbit's Kin".

1953: Recorded "St. George and the Dragonet"; hit #1 in October 1953; B-side is "Little Blue Riding Hood".

1953: Released "Christmas Dragnet".

1954: Starred in the CBS radio sitcom "That's Rich" (January-September).

1954: Released "A Dear John and Marsha Letter".

1954: voices the rancher/cook in the Tom and Jerry cartoon, "Posse Cat".

1955: Released "The Night Before Christmas" and "Nuttin' For Christmas".

1955: voices the Beaver in the animated Disney film The Lady and the Tramp.

1957: Released "Wun'erful, Wun'erful!".

1957: Host of The Stan Freberg Show, the last-ever network radio comedy program (July-October).

1957: Provides narration and voices all the characters in the cartoon "The Three Little Bops".

1957: Released a parody of "The Banana Boat Song"; B-side is "Tele-Vee-Shun".

1958: Released "Green Christmas".

1960: Released "The Old Payola Roll Blues".

1961: Released the album Stan Freberg Presents the United States of America.

Beginning around the same time as the release of the 1961 album Stan became heavily involved with advertising (his earliest commercials date back to 1956). His recordings began to grow further and farther between but every so often he'd release something.

1966: Released the album Freberg Underground! (billed as 'pay radio'; the LP featured a presentation in the form of a radio sitcom).

Stan remained active in advertising...among his clients were Esskay, Chun King, Sunsweet, Contidina, and Jeno's. Stan also provided voice-overs for movie ads and dabbled in political humor during the height of the Vietnam protests. Some of his ads for George McGovern, for example, are featured in a later career box set.

1982: Starred in the PBS special, Stan Freberg's Federal Budget Revue.

1985: narrates the cartoon series The Wuzzles.

1988: Released autobiography "It Only Hurts When I Laugh".

1995: Inducted into the National Radio Hall of Fame.

1995: Began hosting old-time radio anthology series, When Radio Was.

1996: Released the CD Stan Freberg Presents the United States of America, Volume Two.

1997: voices Pete Puma in the cartoon "Pullet Surprise".

1999: Rhino Entertainment issues the career retrospective Tip of the Freberg. It's a must-have for any fan or admirer of Stan Freberg's work; it spans the years 1951-1998.

2000: voices Cage E. Coyote in the cartoon "Little Go Beep".

2003: narrates Irreverent Imagination: The Golden Age of the Looney Tunes documentary for the DVD project titled Looney Tunes Golden Collection, Volume One. Stan appears on-screen in various bonus features throughout the entire Golden Collection DVD series in the mid 2000s.

2006: Retires as host of When Radio Was after 11 years.

2015: Dies on April 7th at age 88.

Stan Freberg: 1926-2015

Bugs Bunny: Superstar

I've been aware of this documentary for more than 20 years now. I first saw it on television at some point in the early '90s on TBS or TNT. It had previously been issued on home video and years later it became available on DVD as a bonus feature on Looney Tunes Golden Collection: Volume Four. It was split in two parts, on two separate discs...much like other documentaries that appear on the other Golden Collection releases. This time it's presented by itself. The program is narrated by Orson Welles and it begins rather dramatic as he tells of various landmarks throughout the world that have made an impact in some way on mankind. He then, in a rather mystified and questionable tone of voice, submits Termite Terrace among the landmarks worthy of adoration. Welles narrates and introduces all involved...the interview clips often begin with the interview already in progress and we are let in on the conversation. Bob Clampett receives the bulk of the airtime. Within the documentary you will see 9 cartoons in their entirety. As others have mentioned, most documentaries only show bits and pieces of cartoons or stills of characters whereas this one airs 9 cartoons in their entirety. In an audio commentary, a bonus feature, you will discover the story of why the special was put together and why Bob Clampett received much of the focus (even though all of the other famed Looney Tune directors, except Frank Tashlin, were still among the living at the time of filming).

This is a must-have documentary in my opinion. If this will be your first time seeing this documentary, but you've seen the various Behind the Tunes features on the Golden Collection series, then this 1975 Superstar documentary will perhaps perplex or confuse most of you. Why? It's because of a lot of the information from Clampett in the Superstar documentary has either been dismissed or shown to be partly true.

Now, of course, armed with a lot more knowledge of the cartoons and the behind the scenes information that we have access to today, it may make watching the Superstar documentary cringe-worthy to some but if you simply want to see a few of the legendary cartoon directors speak of their cartoons as well as see 9 full length cartoons...in addition to hearing the audio from the film maker, Larry Jackson...plus hear Orson Welles narrate...this DVD will not disappoint!

Although it's been almost 4 decades since this special first aired, it nonetheless aired numerous times on cable TV throughout the 1980's and most of 1990's, usually in overnight and early morning time slots or during times of the day with younger audiences. Given that kind of exposure, a lot of the information in the film continued to be accepted as fact. I, too, blindly accepted a lot of the things I was hearing in this special as fact but it wasn't until the Golden Collection series came along and the increase in animation web-sites (with a lot more credible information) that I was able to see that there was a lot of credit hogging taking place amongst many (especially the creation of Bugs Bunny).

You can look up various websites that offer one side of the story verses another when it comes to character creation and see all the multiple accounts and second hand information, etc. etc. Clampett certainly played a vital role in the studio's success, no doubt about it, and his cartoons are hilariously funny in my opinion. This doesn't mean that I don't love the subtlety of the Chuck Jones cartoons or the razor sharp timing and musical prowess of the Friz Freleng cartoons. I don't have any one director, in particular, that stands above the rest and receives exclusive admiration and adoration...there are cartoons from all of the major directors at the cartoon studio that I like for various reasons. Some people actually believe that if you like Clampett's work then you can't possibly like anything from Chuck Jones, for example. There are those who think that if you gravitate toward Friz Freleng then there's no possible way that you could enjoy something from Robert McKimson, Norm McCabe, or Art Davis.

All of that aside, Bugs Bunny Superstar provides a look into the golden age of animation and it continues to remain a must-have in that it includes actual footage of all involved.

There is another documentary that I'd love to see get a DVD release by itself. As of now it's only available on Vol. 1 of the Golden Collection and it's John Canemaker's 'Boys From Termite Terrace'. That documentary along with this Bugs Bunny Superstar DVD are must-have's simply for the video footage of several of the directors speaking in detail about their cartoons.

It's a shame Robert McKimson wasn't as active in either of those documentaries. He died, suddenly, in 1977 at age 66. I love his cartoon parodies of TV shows and the Foghorn Leghorn cartoons he did. I also like how he didn't follow the formula for a lot of the established characters and for humor's sake would place Bugs Bunny, for example, as an overly aggressive character out to prove his worth in "Rebel Rabbit"; then there was "Easter Yeggs" where Bugs, at first, is tormented by a sorrowful rabbit as well as Elmer Fudd and a nameless juvenile delinquent forever wanting an Easter egg; there's "The Windblown Hare" that spoofs The Three Little Pigs story by having the pigs as conniving schemers who pull a fast one on Bugs and then there's the Wolf who mostly remains clueless to anything that doesn't follow along with the fairy tale he's reading; there's "Hillbilly Hare", "French Rarebit", "Rabbits Kin" introduced the animation world to Pete Puma; there's "The Grey Hounded Hare", as well as many others. I hadn't even mentioned the various popular cartoons he did with the Tasmanian Devil. His cartoons included their share of catch-phrases and scenes that are just as memorable as the other directors.

McKimson was just as great as his peers but his tendency to shy from attention, adoration and publicity in a manner in which his contemporaries didn't caused his work to be greatly under appreciated. You can read about him and his two brothers, Charles and Tom, in a book that Robert McKimson, Jr. wrote titled "I Say...I Say...Son!".

Bugs Bunny's original Birthday...

During a news break this morning while listening to the radio it was announced that today marked the 75th birthday of Bugs Bunny. Doing the math, 2013 minus 75 is 1938. It was on April 30, 1938 that an as yet to be named rabbit character appeared in an animated theatrical cartoon titled Porky's Hare Hunt. This rabbit character would evolve over the course of 2 years and visually start to resemble the character we all know as Bugs Bunny. The rabbit got it's name through a chain of events where an employee at Warner Brothers had written the phrase Bugs's Bunny on a model sheet of the yet to be named character. Ben Hardaway's nickname at the studio, according to those who worked with him, was Bugs. Today many historians refer to him as Ben "Bugs" Hardaway. 

Anyway, the alliterative name stuck and from then on Bugs Bunny became the character's name.

However, longtime fans, historians, and those who worked on the cartoons cite 1940 as the official birth year of Bugs Bunny for it was in a July 27, 1940 cartoon directed by Tex Avery titled A Wild Hare which introduced the basic visual appearance that Bugs Bunny has kept over the last 73 years. Porky's Hare Hunt was directed by Ben Hardaway and Cal Dalton. A Wild Hare was directed by Tex Avery. Research shows that there were four theatrical cartoons released between April 1938 and March 1940 starring the future Bugs Bunny. Those cartoons are as follows:

1. Porky's Hare Hunt; 1938  (Ben Hardaway and Cal Dalton)

2. Prest-O Change-O; 1939  (Chuck Jones)

3. Hare-um Scare-um; 1939  (Ben Hardaway and Cal Dalton)

4. Elmer's Candid Camera; March 2, 1940  (Chuck Jones)

A Wild Hare, with the new design of the rabbit, soon followed in July 1940. This is probably the only animated character that has two birthday's. April 30, 1938 and July 27, 1940. Given that the 1940 cartoon by Tex Avery is almost always universally accepted as the first official Bugs Bunny cartoon, 1940 is considered his official 'birth year'. This is why, in 1990, there was a lot of media hype surrounding the character's Golden Anniversary...hitting 50. Ten years later ABC-TV cancelled the long running Saturday morning Bugs Bunny Show franchise (which had evolved into The Bugs Bunny and Tweety Show). This particular series, which ran on various networks and time-slots since 1960, had turned 40 in the year 2000. Since that point in time the Looney Tunes characters have mostly aired on cable television, off and on, in addition to a long list of DVD compilation projects. Down through the years I've been able to purchase several items pertaining to Bugs Bunny and his numerous co-stars plus a couple of items about the man who gave voice to Bugs Bunny from 1938 through 1989, Mel Blanc.

At this time I'd like to put on display some of my Bugs Bunny/Looney Tunes/Mel Blanc items from my personal collection...

This is a relatively brand new book. It hit the market late in 2012 and I finally got around to purchasing it a few weeks ago. I have purchased a couple of other books from the pen of Ben Ohmart within the last several years and so when I first learned that a book about Mel Blanc was on the horizon I couldn't wait until it's release. Throughout the book there is commentary from Mel's son, Noel, taken from an unpublished biography that Noel wrote about his father. Ohmart's book, titled Mel Blanc- The Man of a Thousand Voices, it features many, many, many facts about a man who became one of the most busiest actors in radio, cartoons, and records...and later added television appearances to his long list of credits. Speaking of credits...this book gives a detailed account on everything that Mel Blanc took part in from the early days of his career through his final projects in 1989. It's truly a fabulous, unique, and addictive kind of book for those who are not only fans of Mel Blanc but of classic animated cartoons in general, whether theatrically released or made-for-TV. The book is also filled with quotes and remembrances by a long list of celebrities in an out of animation that Mel worked with or were inspired by. Mel's friendship with Jack Benny is explored in more detail in this book, too. The book is lengthy but this is not to be a surprise for an actor of Mel's considerable longevity...before hitting national radio in the late '30s, right around the time he was just starting his decades long run with Warner Brothers cartoons, Mel was a feature on local radio for a period of years in Oregon prior to making the move down to the Los Angeles area. In addition to the written word there are plenty of pictures throughout. Some of the images, I assume, are exclusive to the book as I hadn't seen quite a few of them until now. This fabulous book can be purchased HERE.  
  

Although this particular book has nothing to do with Bugs Bunny, it's all about Tweety and Sylvester, the canary and cat duo that featured prominently in many of the Warner Brothers releases throughout the mid '40s through the '50s. The book was issued in 1991, written by Jerry Beck. By the early '60s Sylvester's more frequent nemesis had changed from Tweety to the fastest mouse in Mexico, Speedy Gonzales. The book takes a look at every theatrically released cartoon to feature each character, either as a duo or separately. The two characters would, many decades after their creation, star in a television series titled The Sylvester and Tweety Mysteries. The series debuted in 1995, the 50th anniversary of the first theatrical cartoon starring Sylvester titled "Life with Feathers". Like Bugs Bunny, Sylvester was a yet to be named character. In fact, he was referred to as Thomas in early cartoons with Tweety.

In 1988 Mel Blanc issued his autobiography titled That's Not All, Folks!. The book is a fascinating look into the life and times of one of animation's greatest voices. As the years went on and more and more fans had gotten older and more and more aspiring voice actors/actresses came along who had grown up watching the various Looney Tunes programs, the book seemed to take on much more scrutiny than it did when it was originally released. There are a few recollections in the book that contradict information later brought to light and then there's the longstanding argument over the creation of the Foghorn Leghorn voice. At the root of the argument, basically, is the origin of the voice and how possible it is that both Mel Blanc and Kenny Delmar were inspired by similar sounding fictional characters and each used that distinctive voice without copying from the other...Foghorn Leghorn debuted right at the height of the Senator Claghorn craze in 1946. Claghorn was a radio character played by Kenny Delmar on Fred Allen's radio program starting in the latter half of 1945. Keith Scott writes about this very subject HERE.  

June Foray issued her autobiography, Did You Grow Up With Me, Too?, a couple of years ago. It was co-authored by Mark Evanier and Earl Kress. I'm proud to say that I wrote the first Amazon review of this particular book. You can read that review HERE. June had quite an impact in the Looney Tunes series as she gave voice to a few characters that have since become animation icons. The original voice actress of Granny and Witch Hazel was Bea Benaderet. Bea would later give voice to Betty Rubble in The Flintstones. Like June, Bea had a lengthy career in radio and on records in addition to the cartoon work. Bea, however, would become even more recognizable as a face actress in the 1950's and 1960's appearing in an assortment of early television comedies. Bea's longest running television role was as matriarch Kate Bradley on the rural sitcom, Petticoat Junction. June stepped into the roles of Granny and Witch Hazel during the 1950's and she's been the voices of those characters ever since. Unlike Mel Blanc, though, June wasn't tied to just one animation company exclusively for so many years. In addition to her Warner Brothers work she concurrently gave voice to another animated icon, Rocky the Flying Squirrel, on the Bullwinkle series of cartoons by the Jay Ward company. She became even more busy in the 1980's. She gave voice to Jokey Smurf and Mother Nature in the Smurfs series throughout the decade. For the Disney company June was the voices of several characters in the mega hits The Adventures of the Gummi Bears and Duck Tales from the mid '80s onward. You can read more about her by getting the autobiography!

This obscure 2005 CD features quite a number of songs recorded by Mel Blanc. What a lot of people usually forget about or don't know is that Mel had a lengthy recording career outside of animated cartoons. Although a lot of his recordings centered around the animated characters that he gave voice to in a series of children's albums there were quite a few recordings where he uses his natural voice, too, but those weren't as commercially successful as the recordings he did with the humorous voices and sound effects. There are 25 songs featured. Some of the highlights, for me, are "Yosemite Sam", "I Tan't Wait Till Quithmuth Day", "The E.I.O. Song", "Morris", "Yah Das Ist Ein Christmas Tree", "Money", "Barney Google", "That Hat I Got For Christmas Is Too Beeg", "I Tell My Troubles to Joe", and "The Missus Wouldn't Approve". For the latter two songs he uses a voice similar to the one he gave to the Happy Postman character on The Burns and Allen Show. He gives a display of quite a few voices as each voice takes turn performing "Barney Google". The CD kicks off with his version of "The Woody Woodpecker Song". The recording had originally been recorded and released by the immensely popular bandleader, Kay Kyser, in 1948. His recording featured the vocalizations of Harry Babbitt and Gloria Wood. The song is a perfect example of an obscurity amongst a general audience in that Mel Blanc provided the original voice of Woody Woodpecker and created the famous laugh heard throughout a bulk of the series. The Woody character was created by Ben Hardaway in 1940...yes, the same one who played a pivotal role in the original version of Bugs Bunny in 1938. In fact, Woody's vocalization as provided by Mel Blanc was almost exactly the way the original version of Bugs Bunny sounded...right down to the distinct laugh. Mel provided Woody's voice in animated form in just the first four releases. This is because in 1941 Mel signed an exclusive contract with the Warner Brothers cartoon division (Leon Schlesinger Productions) and from that point forward Mel's voice could only be heard on cartoons released by Warner Brothers. This exclusive contract was kept intact for nearly 20 years.

However, the exclusive contract applied to animated cartoons only...it didn't prevent him from using his voice on radio and on records. In radio, Mel was heard on dozens of radio programs playing a wide variety of recurring characters. Given that his radio characters were as animated as the characters in the cartoons it wasn't uncommon for the writers of the cartoons to blend both worlds together and have in-jokes flowing all over the cartoons about various radio comedies that Mel was featured on. References to Jack Benny were used the most given that Jack's radio program was the #1 comedy show for so many years and that Mel provided many character voices on that series. One cartoon in particular, 1959's The Mouse That Jack Built, must have seemed surreal to audiences at the time. It was directed by Robert McKimson and featured the actual cast of The Jack Benny Program providing their character voices, drawn as mice. Mel provided the voice of the Maxwell jalopy as well as the unseen Ed, the Vault Keeper. On radio Joseph Kearns provided the voice of Ed. Considering that Ed only had a brief exchange with the cartoon Jack Benny it was probably decided that it wouldn't make much sense to bring in Joseph Kearns for just one single line reading. Later that year he would take on the role of Mr. Wilson on Dennis the Menace.

I've posted several of these images before in numerous other blog entries. The Looney Tunes Golden Collection continues to be, for me, the bible of Warner Brothers theatrical cartoons from beginning to end. The various DVD discs focus on a particular overall theme, pretty much, and so what you get are deliberately selective cartoon entries on each disc that have to do with the overall theme. For example, one of the disc's may be devoted to just the cartoons starring Bugs Bunny (obviously!) and another disc may deal with cartoons that feature only Daffy Duck or Porky Pig. In some of the last collections there was a lot more coverage of the black and white era and the earliest Looney Tunes characters...I'm referring to the characters that arrived prior to the debut of Porky, Daffy, Bugs, Tweety, and Sylvester. If you don't know who those characters were then they'll be a revelation if you purchase the later installments of the Golden Collection series. Also, I've almost wore out one of the disc's...the one that features the World War Two cartoons found in the collection below. The war cartoons are endlessly entertaining but I went to play it one day and it stopped playing during one of the cartoons. I don't know if I really did wear the disc out or if it's one of those unexplained glitches having more to do with the DVD player rather than the disc itself.
 

Looney Tunes: Golden Collection, Volume Five...

I'm typically several years late when it comes to purchasing the Golden Collection series and this one's no exception. I purchased this a few days ago and it arrived yesterday. Thanks to the availability of Looney Tunes: Spotlight Collection, Vol. 5 I was able, several years ago, to see 30 of the cartoons that are featured in this edition of the Golden Collection. As usual the Golden Collection is more for the cartoon enthusiasts...animation historians...and die-hard fans of the Looney Tunes. The main reason for the Spotlight Collections were to aim at the general audience and aim at those who wouldn't pay more than $20.00 for a DVD collection (although the Golden Collections are well worth the higher price). A lot of the reviews of this DVD I've not read (there's too many) but those that I've skimmed through touch base on just about everything and so I'm not going to do any break downs of too many individual cartoons.

Given that the Golden Collection, this one being no exception, are filled with extra features and mini-documentaries on animators, directors, and the like I watched most of the extra features and bonus material first and that's what this review will mostly be about.

The documentary I watched right away was "Drawn To Life: The Art of Robert McKimson" which is found on disc 2. I watched this first because I wanted to, first of all, see what the animators, historians and fans of the cartoons had to say. I also watched it first because McKimson is like the unheralded giant of classic Warner Brothers cartoons...and many cartoons by McKimson played a lot on ABC-TV's Bugs Bunny and Tweety Show of the '80s and '90s and I was raised on his cartoons every bit as much as I was raised on the cartoons by Friz Freleng, Chuck Jones, Bob Clampett, and Tex Avery.

The documentary is a celebration of McKimson's career. He's noted as being one if not the only person employed at Warner Brothers cartoons from it's beginning in the early '30s to it's eventual closing in the late '60s. McKimson and his brothers, Charles and Tom, were natural artists and obviously this enabled them to become animators...and later, as we know, Robert became a director at the studio. Within the documentary, strangely enough, there isn't any archival commentary from McKimson's peers at the studio and there's no verbal recordings of McKimson. There are pictures of him shown (of course!) and there's invaluable commentary from his son, Robert McKimson, Jr., and several others but there's no actual footage of the senior McKimson on camera discussing his career or the characters he known for (Foghorn Leghorn, Barnyard Dog, Prissy, Tasmanian Devil, Hippety Hopper, and Sylvester Junior).

While the documentary on McKimson is a celebration of his work and his talents it wouldn't have been realistic without discussing the sad but true fact that he's largely forgotten and unheralded when compared to Friz Freleng, Chuck Jones, Bob Clampett, and Tex Avery. Several historians and cartoon enthusiasts offer their opinion on why that's the case...a lot of it has to do with the fact that McKimson passed away in 1977 before all the nostalgia and enthusiasm for cartoons really started to take off but also, according to some of the commentators, it also had to do with his low-key demeanor. It's a study in extreme ironies: McKimson was a skilled artist, animator, and director who did quite a lot of memorable cartoons but because of his low-key nature and the acclaim put on Friz, Chuck Jones, and the others through the decades it's created a scenario where a director's work is highly memorable albeit the name of the director isn't as well known by comparison. For example...say a couple of people are discussing various Bugs Bunny cartoons. One guy says "oh that was hilarious! let's see now...who directed it? it was either Chuck or Friz....hmmm, oh? it was Robert McKimson? it was a hilarious cartoon!". Other examples can also be used to describe the irony of the "oh, it was Robert McKimson? Hilarious!" realization. After awhile our mythical conversationalists recognize that McKimson directed his fair share of classic cartoons even though his name isn't as lauded as Chuck and Friz.

Another extra is "Once Upon a Looney Tune"...which airs prior to the McKimson documentary on disc 2. In this feature we see the exploration of the zany, irreverent spin on fairy tales which is what's featured on Disc 2 of the collection. There are various spoofs of Little Red Riding Hood and The Three Bears in addition to other fables and fairy tales. It's interesting to note that in the "Once Upon a Looney Tune" feature they air a clip of Coal Black, a parody of Snow White. Those who are die-hard fans of the Looney Tunes know all about Coal Black but it caught me off-guard when I saw the clip pop up on the screen.

Bob Clampett gets his own disc...it's Disc 3. Along side Tex Avery and Robert McKimson, Clampett's cartoons are laugh out loud funny in my opinion. It's often been said that Friz Freleng's cartoons had superior timing and razor sharp music coordination which brought out the humor in almost every cartoon. It's been said that Chuck Jones had superior timing, too, on top of using eye blinks, facial expressions, and word play to bring out the humor in his cartoons...but pretty much everyone who's given commentary about a Looney Tunes cartoon seems to point out Bob Clampett's work as being the looniest of all. Ironically, Clampett received a mini-documentary of his life and career back in the Golden Collection, Volume Two but it took until Volume Five for him to get a disc devoted to his directorial contributions at the studio.

There have been other Clampett cartoons sprinkled throughout Volumes 1 through 4 so it isn't like his work was completely ignored. However, compared to the amount of cartoons directed by Friz and Chuck featured on Volumes 1 through 4, Clampett's contributions pale by comparison. Some say it's because Friz and Chuck were at the studio much longer and made more cartoons therefore more of their contributions are showcased...which makes sense...but then there are those who say that limiting the Clampett cartoons was did intentionally because the irreverence, satire, and all out zaniness clashed with the works of Freleng and Jones.

There are two bonus features on Disc 3...one is all about the "Wacky Warner One Shots". This feature examines quite a lot of the cartoons from Warner Brothers which didn't star any of the popular characters (like Bugs, Porky, Daffy, Sylvester, etc. etc.). The second bonus feature, "Real American Zero: The Adventures of Private SNAFU", looks at Private Snafu...the inept soldier who doesn't do anything right. The training films were designed to teach newly enlisted soldiers how NOT to behave. By watching Snafu do the wrong things and get into a lot of trouble it was teaching soldiers to learn from Snafu's mistakes. The Snafu cartoons were never shown to the general public for obvious reasons. It's fun, though, to see the regular gallery of historians and animators who've contributed to the Golden Collection series speak more R-rated, too. The mini-documentary isn't an all out barrage of cuss words but given that it's all about the Private Snafu cartoons the language is a little bit looser. There are two bonus cartoons of SNAFU adventures and there are three cartoons starring SNAFU's Navy counterpart, Mr. Hook. SNAFU cartoons were made for the U.S. Army while the HOOK cartoons were made for the U.S. Navy.

Disc 1 features cartoons starring either Bugs Bunny or Daffy Duck. Of course there are several cartoons that feature Bugs and Daffy together outwitting a shared enemy. In "Ali Baba Bunny" the shared enemy is Hasan, the simple minded treasure guard who can't remember the magic phrase 'open Sesame'. The main extra feature on Disc 1 is a Chuck Jones documentary from 2000 called "Extremes and In-Betweens: A Life in Animation". This is the second documentary on Chuck...the first, "Chuck Amuck", was featured on Volume One.

Part 2 of the "Extremes and In-Betweens" documentary is on Disc 2...along with another Chuck Jones spotlight called "A Chuck Jones Tutorial: Tricks of the Cartoon Trade". This was originally a bonus feature on the DVD release of "Extremes and In-Betweens".

This Volume Five nearly completes my collection of the series...I now need to get the final volume, Six, to make it complete.

Disc 4 showcases early cartoons. A bonus extra, "Unsung Maestro's: A Directors Tribute" takes a look at various directors at Warner Brothers who contributed quite a few cartoons for the studio but were never given a lot of spotlight. A lot of the time it was because some of the directors were there prior to the arrival of future super star characters like Porky Pig, Daffy Duck, and Bugs Bunny. The directors of the Looney Tunes in the earliest of years get some spotlight in this feature. One of the more notable cartoons on Disc 4 is "Scrap Happy Daffy" from 1943. It was directed by Frank Tashlin. The first cartoon directed by Tex Avery, "Gold Diggers of '49", is featured on Disc 4. It stars Beans the Cat but many historians say Porky Pig is the real star. The cartoon is also notable for injecting a lot of what would become trademarks of the Warner Brothers cartoons: visual humor, pop-culture references, and general craziness. The cartoon premiered in 1935...several years before Mel Blanc would become the voice of Porky Pig and what we have is original voice, Joe Dougherty, providing the vocals. The cartoon was animated by Bob Clampett and Chuck Jones several years before the two of them would become cartoon directors. Research shows that "Gold Diggers of '49" is the second cartoon to feature Porky Pig.

All in all this is another perfect Golden Collection...some have ripped this collection apart but I have no idea why there's anger and bitterness at all. There was bitterness felt by some about Volume 4 due to several of the disc's concentrating on lesser known characters and highlighting cartoons that lacked a lot of the trademark humor of later cartoons from the studio. One of the disc's on Volume 4 was devoted to Speedy Gonzales which infuriated some but delighted others.

This Volume 5, in my opinion, doesn't feature any cartoon that deviates too much from what Looney Tunes enthusiasts crave. You can't go wrong with a disc devoted to Bob Clampett, neither! On top of this there's the wonderful look at Robert McKimson's work that I wrote of at the top of this review...and then there's the Chuck Jones documentary...and there's three Looney Tunes specials added as extra features on Disc 4: "Bugs and Daffy's Carnival of the Animals", "Bugs Bunny's Looney Christmas Tales", and "Bugs Bunny's Bustin' Out All Over".

In the latter, from 1980, several new cartoons are added to the lengthy list of theatrical Warner Brothers releases: "Portrait of the Artist as a Young Bunny", "Soup or Sonic", and "Spaced Out Bunny". The "Soup or Sonic" short is a Coyote and Road Runner adventure.

In "Bugs Bunny's Looney Christmas Tales", from 1979, you get three newly animated adventures: "Freeze Frame" is a Coyote and Road Runner adventure while "Bugs Bunny's Christmas Carol" casts Yosemite Sam as Scrooge, Tweety as Tiny Tim, Porky as Bob Cratchit and Bugs portrays a bystander bent on showing Scrooge how to treat people with respect. The third segment of the 1979 special was titled, "The Fright Before Christmas", and it featured Bugs and the Tasmanian Devil.

The "Bugs and Daffy's Carnival of the Animals" is a 1976 prime-time special featuring all new animated segments of Bugs and Daffy competing against the other which further fuels the Bugs vs. Daffy comical feud first explored in the theatrical cartoons. The 1976 special has a bit too much live action/symphony performance for me but the animated sequences are great.

Looney Tunes: Golden Collection, Volume Four

The Golden Collection in my opinion is a fascinating series of DVD's spotlighting the Looney Tunes/Merrie Melodies series of cartoons. I personally own almost all of the volumes that were released. I still need to grab the later volumes and I shall do that one of these days. One of the things that I liked about the series was the extra's. I think I've played and re-played and re-re-played several of those "Behind The Tunes" segments. The history that's presented and the comments from those who were there or those who are part of the cartoon world today are captivating.

Volume Four contains 4 discs.

The critically maligned Bugs Bunny Superstar documentary, from 1975, is broken into two parts on Disc 1 and Disc 2. I happen to like the documentary, if for the only reason, is that I love seeing the clips of the directors/animators from a point in time where their cartoons, although airing on TV for kids, hadn't really experienced the fame and glory that was to come as younger people became more and more fascinated with the whole body of Warner Brothers cartoons and the directors became, in the minds of fans, almost God-like. Orson Welles narrates the documentary. It contains footage of Bob Clampett speaking, often at length, about the characters. Historians and his contemporaries often pointed out that Clampett assumed credit for creating characters that he factually had no creative input on, other than animating or directing the characters. He did create characters. Tweety, for example, was a significant contribution, but the character was redesigned and toned down by Friz Freleng several years later and Tweety became synonymous with Freleng ever since. Freleng teamed Tweety with Sylvester, a character created by Freleng, and a star duo was born.  

Each cartoon director that went through the studio and had any considerable time-span has their 'followers' even today. There's the fans of the wild, zany cartoons epitomized in the works of Tex Avery, Bob Clampett, Norm McCabe, and Robert McKimson. Frank Tashlin's cartoons have a live-action flavor. I was not familiar with his cartoons due to how they rarely, if ever, played on TV and so I learned quite a lot about him in this Volume...he has a disc all to himself. Later, after I purchased the previous release, Volume 3, I found out even more thanks to the documentary called Tish Tash: The Animated World of Frank Tashlin.

It should be pointed out that I didn't purchase these Golden Collections in numerical order.

Friz Freleng and Chuck Jones are the two directors from the studio that garner the most acclaim and attention and they, too, have their followers. It should also be noted that Freleng's cartoons won the most Academy Awards for Warner Brothers, a total of 4: Tweetie Pie, Speedy Gonzales, Knighty Knight Bugs, and Birds Anonymous.

Friz Freleng gets spotlighted on a documentary called Friz on Film and he, too, has a fan base that prefer cartoons that have razor-sharp timing and music ties. It's a wonderfully done salute to arguably the best director from the Golden Age of Warner Brothers Animation in terms of stats, accolades, and total body of work. Freleng directed just about all the Warner cartoon characters at some point or another with a large percentage of his work concerning Bugs Bunny, Daffy Duck, Tweety and Sylvester, Yosemite Sam, and Speedy Gonzales. Speedy was created by Robert McKimson (who directed the character's debut and some later cartoons of the late '50s and early '60s) but Freleng directed the ones considered by historians to be the most popular. In this documentary, as well as in other extra features that elaborate on Freleng, the creation of Yosemite Sam is almost always discussed. His peers and colleagues routinely state that the character is a complete duplication of the real-life Friz Freleng. His daughter remarks that Friz had red hair in his younger days and that he had a temper and several animators affectionately recall Friz being impatient, fuming, pacing a lot, and anxious during the animation process. Friz himself, in archive footage, laughs about his tyrannical reputation during the production of the cartoons but remarks that he obtained that reputation due to his perfectionism and insisting that the cartoons come across exactly as he envisioned. The character of Sam, by the way, was created as a replacement for Elmer Fudd.  

Chuck Jones, in addition to his many contributions to Warner Brothers cartoons, did a lot of mostly seasonal animation projects and specials away from Warner Brothers from the early '60s through the early '70s that often play on cable television annually to this day and that's probably a big reason why his name is much more recognizable by those outside the audiences of Warner cartoons. He did critically acclaimed work for MGM. The crowning achievement away from Warner Brothers, in hindsight, would be his adaptation of How The Grinch Stole Christmas, a story from Dr. Seuss, that plays every year. Jones returned to Warner Brothers in the late '70s and remained a pivotal figure in keeping the the public remembering the Warner Brothers characters as well as providing newer animation projects utilizing the classic characters.

Characters created and, or, associated with Chuck Jones at Warner Brothers are Bugs Bunny, Daffy Duck, The Road Runner and Coyote, Pepe LePew, Porky Pig, Marvin Martian, Charlie Dog, Witch Hazel, and Sylvester. Jones' depiction of Bugs Bunny is in sharp contrast to the depictions from the other directors. Friz Freleng stayed with the wiseguy, Brooklyn-Bronx mannerisms brought out by Tex Avery's A Wild Hare. Jones depicted Bugs as a calm, minding his own business kind of character who only became a wiseguy or became aggressive once provoked.

Jones introduced the world to the Duck Season/Rabbit Season routine and changed the personality of Daffy from being a free-for-all, zany, looney character into a gigantic egomaniac forever jealous of the popularity enjoyed by Bugs Bunny. The fans who love this depiction have Chuck Jones to thank.

The funny thing is that this characterization of Daffy remained constant...being picked up by the other directors...and today Daffy is known as a greedy, vain, egotistical braggart. In his memorable role as Duck Dodgers, Daffy plays the part of the know-it-all hero scolding and blaming his associates for his own incompetence. This is not the Daffy that intrigued movie audiences of the '30s and '40s...but it's a comical stroke of genius all the same.  

Jones directed three cartoons that are in the National Film Registry: Duck Amuck, One Froggy Evening, and What's Opera, Doc?. Ironically, those three cartoons didn't win any awards during their original releases, but decades of showings on television and the viewer response to those three in particular elevated them above the other cartoons. Three of his theatrical cartoons did win Academy Awards: For Scent-imental Reasons, So Much For So Little, and The Dot and the Line. Jones won an Honorary Academy Award in 1996 for career/lifetime achievement.

One of the things about these Golden Collections is that the work of the directors are on full display and you're able to enjoy the various styles and characterizations associated with specific animators and directors. Until these collections started being released it was next to impossible to see cartoons from Frank Tashlin, for example, or see Norm McCabe's work for the studio. I think the collections certainly have the capability to spotlight the lesser known work that wasn't seen on TV on a constant basis and maybe spawn followings for those directors. Time will tell, though!

The four disc's consist of theme-oriented cartoons:

1. Bugs Bunny Favorites
2. A Dash of Tashlin
3. Speedy Gonzales in a Flash
4. Kitty Korner

Looney Tunes...crazy...100% nuts...

Posing with a book that I bought several years ago at a book store in a shopping mall, this blog entry is really about my salute to the Looney Tunes characters and those of the Merrie Melodies. Originally, there was a distinct separation between the two series from Warner Brothers. However, as time went on, the characters started to appear interchangeably to the point where there wasn't much of a distinction anymore other than the differing titles for both sets of cartoons. Originally the Merrie Melodies series featured serious, Disney-like cartoons with heavy use of songs from the Warner Brothers music catalog. The Looney Tunes series featured the wild and crazy cartoons that were funny in comparison. It's these cartoons and that style which pushed the more serious cartoons off to the side as time went on.

The series had it's share of top directors, animators, writers, etc etc and one of the most interesting things about the Warner Brothers cartoon directors and writers is that their names are more widely known than the directors and writers at Disney and MGM, the two chief rivals in the theatrical cartoon business to Warner Brothers. I suppose if I looked it up, the cartoon directors at Disney would be easy to find in this internet age but would they be names that I'm familiar with? I admit that this feeling comes from being raised on the Warner Brothers cartoons. I know of the Disney characters...who doesn't know of Mickey Mouse? Donald Duck? Goofy? Winnie the Pooh? I couldn't tell you who the cartoon directors were. A lot of it has to do with, as I mentioned, not being raised on Disney cartoons. When I was younger the Disney cartoons were exclusive to the Disney channel...a premium channel...that my parent's didn't spend extra money for. This was several years before the local FOX stations started airing Disney cartoons in the afternoons in the late '80s.

As I mentioned, when I was growing up, it was the Warner Brothers cartoons I was most familiar with. Popeye was another...and Tom and Jerry, along with MGM's cast of characters. As I got older I discovered the made-for-TV cartoons of Hanna-Barbera and liked those cartoons as well.

The most talked about, or celebrated, directors at Warner Brothers during their golden age were:

1. Friz Freleng
2. Chuck Jones
3. Tex Avery
4. Bob Clampett
5. Robert McKimson

After those five, you then usually hear about...

6. Frank Tashlin
7. Art Davis
8. Norm McCabe

Ironically, #3 and #4 were with the studio a short number of years, instead of decades like Chuck, Friz, and Bob McKimson...but even today, among Warner Brothers cartoon fans, both Bob Clampett and Tex Avery have just as much discussion as the others.

Who you don't hear much about are #6 through #8. This is just my opinion but the big reason for this is because they didn't make any cartoons that have stood the test of time. Art Davis was more of an animator turned director for a few cartoons. Frank Tashlin made just as many cartoons as Bob Clampett and Tex Avery but his cartoons seldom got much attention due to their lack of exposure to various generations. The Bugs Bunny Show helped expose the characters to 4 generations of audiences starting in 1960. The cartoons from Chuck, Friz, and Bob McKimson were heavily favored.

It was on the air on ABC, then CBS, and then back to ABC during it's 40 year run. The show during it's final ABC run was titled The Bugs Bunny and Tweety Show and it left the air in 2000 after a 40 year run on the air, in various time slots and under various titles.

The book that you see me holding is a companion book, of sorts. It details the history of Sylvester and Tweety and it gives a year by year break down of the cartoons. It gives writer, director, producer, and animation credits along with voice credits for each cartoon listed and if it was nominated or if it won an Oscar then it was noted.

A cartoon winning an Oscar?? Yes...for those who aren't too well studied about theatrical cartoons...there was once a category called "Best Short Subject". There still may be a category called that?? Anyway...that category was usually reserved for the animated cartoon that would air in movie theaters prior to the showing of the movie. The Academy would then nominate which cartoons, or "short subjects", they felt were Oscar worthy. The cartoons were dubbed short subjects because, obviously, the running time was short compared to a feature length movie. Most cartoons ran no longer than 8 minutes...9 minutes was a rare occasion...6 minutes or 6 and a half was the norm for most cartoons.

When the winner was announced, the Oscar was awarded to the producer...the writers or director or anyone else weren't given any Oscar's for their participation. The producer of the cartoons, originally, was Leon Schlesinger. He was the producer until the mid 1940's...around 1944/1945. He sold his company to Warner Brothers and Eddie Selzer became the new producer. From the things I've read and from the commentary made by those who worked on the cartoons, Selzer wasn't too popular among the directors. Friz Freleng recounts an incident where Selzer insisted that Sylvester team up with a woodpecker for a series of cartoons. Sylvester and the woodpecker had appeared in just one cartoon together, prior to the cat officially being called "Sylvester".

Friz had gotten the idea to team Sylvester up with the Tweety character that Bob Clampett created. Selzer didn't like the idea and Friz threatened to walk away from the studio...and then Selzer contacted Friz and gave in and told Friz to go ahead and team Sylvester up with Tweety. Their first cartoon together as a team won an Oscar, 1947's "Tweetie Pie".

Some things the average cartoon watcher may not know is Robert McKimson created the character, Speedy Gonzales, but it was Friz Freleng who had his unit re-design the character into what people recognize today and Friz directed several Speedy cartoons and Robert McKimson later began directing his own Speedy cartoons based on the Hawley Pratt design. Pratt was Friz's layout artist. McKimson is also responsible for Foghorn Leghorn, Sylvester Jr, and the Tazmanian Devil. Henery Hawk was a character created by Chuck Jones but McKimson borrowed the character and used him extensively in the Foghorn Leghorn series of cartoons.

Out of all the directors at the studio, Friz won the most Oscars.

Chuck Jones is often more celebrated and hyped given that his approach to cartoons mirrors the collegiate and intellectual approach to animation. His cartoons, while hilarious, tended to be slightly Avant-garde in comparison to the belly-laugh style of Friz and McKimson. Tex Avery on the other hand went beyond belly-laughs and could have a viewer laughing without anything hilarious going on...a simple facial expression or some other timed gag in one of his cartoons was as funny as dialogue and out of all the directors, Avery could get laughs with sight gags because of how well-timed they were. He would become even more legendary at MGM...the studio he left Warner Brothers for. Bob Clampett, who adopted a Tex Avery style, would also depart the studio. Frank Tashlin left cartoons for live action movies. So, for a bulk of the Looney Tunes and Merrie Melodies throughout the 1940s, 1950's, and into the early 1960's you had three directors: Friz Freleng, Chuck Jones, and Robert McKimson. Mel Blanc was the main voice artist for the studio from the late 1930s through the 1960's. He had co-stars, though. Arthur Q Bryan voiced Elmer Fudd for years. Bea Benaderet voiced Granny and many female characters up through the mid 1950's prior to June Foray coming aboard to voice Bea's characters and others that came along. Daws Butler was often heard doing celebrity impressions. Stan Freberg gave voice to quite a few characters that played off against characters Mel provided the voice to.

For those who want to see hilarious Warner Brothers cartoons seek out the Golden Collection DVD series. Not only will you get the cartoons but you'll also get a boat load of extra's that feature interview clips with the directors and animators involved in the cartoons. All of the major players, speaking about directors and writers and animators, are all gone. A few of the voice actors are still around. Here's a life-line of the heavy hitters at the studio and the lesser-known's...

Leon Schlesinger: May 20, 1884-December 25, 1949 {65; producer}

Eddie Selzer: January 12, 1893-February 22, 1970 {77; producer}

Mel Blanc: May 30, 1908–July 10, 1989 {81; voice artist}

Friz Freleng: August 21, 1906–May 26, 1995 {88; director}

Chuck Jones: September 21, 1912–February 22, 2002 {89; director}

Tex Avery: February 26, 1908-August 26, 1980 {72; animator/director}

Robert McKimson: October 13, 1910-September 29, 1977 {66; animator/director}

Bob Clampett: May 8, 1913-May 4, 1984 {70; animator/director}

Arthur Q Bryan: May 8, 1899–November 18, 1959 {60; voice artist}

**Stan Freberg: August 7, 1926- {currently 83; voice artist}

Bea Benadaret: April 4, 1906–October 13, 1968 {62; voice artist}

**June Foray: September 18, 1917- {curently 91; voice artist}

Daws Butler: November 16, 1916–May 18, 1988 {71; voice artist}

Frank Tashlin: February 19, 1913-May 5, 1972 {59; director}

Art Davis: June 14, 1905-May 9, 2000 {94; animator/director}

Norm McCabe: February 10, 1911-January 17, 2006 {94; animator/director}

Mike Maltese: February 6, 1908—February 22, 1981 {73; writer}

Warren Foster: October 24, 1904-December, 1971 {67; writer}

Tedd Pierce: August 12, 1906—February 19, 1972 {65; writer}

Carl Stalling: November 10, 1891–November 29, 1972 {81; music conductor}

Milt Franklyn: September 16, 1897–April 24, 1962 {64; music conductor}

=======================

**- both June Foray and Stan Freberg are the only surviving members of the Golden Age of Warner Brothers cartoons.

Beany and Cecil, Volume Two DVD

There is going to be a new DVD collection coming along this fall. The release of "Beany and Cecil, Volume Two" will happen on September 8th. This comes on the heels of a DVD collection from nearly 10 years ago.

In the early part of this decade there was a DVD released called "Beany and Cecil: The Special Edition" which consisted of a wide variety of Bob Clampett programs. Of course, 90% of the material was Beany and Cecil related...but a lot of the extra's dealt with other projects. In the previous collection the DVD consisted of 4 episodes of the live-action puppet show, Time For Beany, which ran for six years, 1949-1955. The puppet show ran locally, 1949-1950, but then started airing nationally later in 1950. The first volume DVD featured quite a few of the episodes of the animated version, simply called Beany and Cecil. In the animated version, the voice actors were slightly different than what viewers of the puppet show heard. In the puppet version, Daws Butler and Stan Freberg voiced the characters. In the animated version, which ran for one season of first-run episodes, but aired in reruns on the network for four more years, the voice actors for the animated version were Jim MacGeorge and Irv Shoemaker.

The cartoons usually had a sing-a-long/rhyme segment which lead up to the two characters singing together "...a Bob Clampett Cartoon" prior to the start of each episode. Beany's voice in the animated series lacked the cuteness, I think, that Daws Butler gave the character in the puppet version. The boy's voice in the cartoon is nothing like Butler's while Cecil and the villain, Dishonest John, sound somewhat close to the way Stan Freberg did the characters in the puppet version. Captain Huffenpuff, Beany's uncle, was the fourth major character. Daws voiced the puppet version while Jim MacGeorge voiced the animated version.

Much of the program's charm was the dialogue between all the characters...when the cartoon version began a lot of the charm lay in the pun's that Clampett was noted for. In one episode there was a reference to Dinah Shore as "Dina Saur" {Dinosaur, get it?}.

http://www.cartoonbrew.com/classic/time-for-beany-online-photo-archive.html

If you can't open that link, copy and paste it in your search box, click enter, and see if a link to the site comes up. If not, try Googling CartoonBrew and navigate their site until you come across the Beany and Cecil photo album. They have a fabulous pictorial up of both Stan Freberg and Daws Butler performing on the 1949-1955 puppet show. There's 10 pages of black and white pictures of the two! I saved quite a few of them.

In closing...

There were 26 half-hour productions that started to air in 1962. There were 78 segments...which means there were something like 3 segments per episode, of varying length, if my math is correct which it usually never is. So, these 78 segments/26 episodes aired consistently in reruns until 1967. The show remained in syndication on into the 1970's but eventually it left the airwaves. The cartoon and the puppet show have a cult following today and the DVD releases have been sparse. The first release that I wrote of earlier, "Beany and Cecil: The Special Edition", was the first DVD release of it's kind to focus on these characters with any degree of respect. Fast-forward a decade later, 2009, and we're about to have a second volume released to us. "Beany and Cecil, Volume Two"...

Looney Tunes Spotlight Collection 6

I don't know if I'm sub-consciously writing more about Warner Brothers cartoons or not. I may have touched upon this in a previous entry but I tend to not write as much about the Warner cartoons because there's so many people who do...I tend to spotlight the lesser-known or the made-for-TV programs from Hanna-Barbera simply because there's not a whole wide spectrum of sites that specialize in those cartoons whereas the programs from Warner Brothers are embedded into pop-culture so much what isn't there to know?

However, I wanted to spotlight one of the latest spotlight collections, number 6. It's a DVD collection of 30 cartoons on two disc's which comes to 15 cartoons on each. There are 8 more cartoons featured as bonuses: 4 on DVD #1 and 4 on DVD #2. I hadn't had the time to watch DVD #2 but i've watched DVD #1 a couple times. The theme of DVD #1 is "Cartoon Superstars". It features cartoons that star each of the main characters. The first, "Baby Buggy Bunny", centers around Bugs finding an orphan of sorts...actually, some money has been stolen from a bank that finds it's way to Bugs' hole in the ground. The thief, a midget, adopts the identity of a baby and arrives at Bugs' hole as an orphan. Bugs at first is unaware of the baby's true identity...the baby's name is Fenster. After repeated attempts from the baby to grab the money, Bugs excuses himself and later spies the baby shaving and smoking a cigar in the bathroom. Coincidentally, a news report flashes on the TV about a bank robber on the loose...Bugs gets that 'look' on his face that he's been tricked and then gets the devilish look that he's going to get his revenge. He strolls in and starts whipping the kid and throwing him up in the air and shaking him...it's quite a funny scene as guns and weapons start falling everywhere all the while Bugs is still spanking him "Oh Fenster! What a naughty, naughty, boy!!!". The anger in Bugs' voice as he's getting his revenge is quite satonic but that makes it all the more hilarious.

In the next short, "Broom-Stick Bunny", Bugs is out on Halloween dressed as a witch and he stumbles upon the castle of Witch Hazel. This cartoon's plot is Witch Hazel trying to get the "witch" {Bugs} into a pot of boiling water...periodically she stops at a magic mirror asking who's the ugliest one of all. She gets great delight in being declared ugly...she also gets delight in making jokes, causing her to go off into a fit of cackling laughter. Bugs reveals himself as a rabbit which causes Witch Hazel to grow even more determined to fulfill her magic potion. She is about to kill Bugs when he gives her the pouty-eyes routine and she starts crying, thinking about memories of Paul. Bugs turns the tables and offers the witch a drink. She drinks it and turns into a Cinderella-type...and then she goes to her magic mirror asking who's the ugliest one of all...the genie in the mirror doesn't even bother answering her...one look and he hops on his carpet in hot pursuit and flies out of the mirror chasing her.

"To Duck or Not to Duck" is a cartoon starring Daffy Duck and Elmer Fudd. The cartoon is basically about a boxing match between the two of them...with a lot of duck's in attendence cheering on Daffy while only one in the stands cheers on Elmer, namely the hunting dog Ladamore. Each time he cheers on Elmer he gets pelted with fruit. The referee introduces Elmer amidst a series of laughter...and the audience boo's. The referee then turns his attention to Daffy...and in a scene that often becomes a subject of mockery, the referee brings on Daffy with some of the most sentimental words imaginable...going so far as to climb upon Daffy in an intimate way, blinking his eyes and wrapping an arm around Daffy's shoulder, becoming quite affectionate in the process. This, of course, is a spoof of boxing in general...how it often comes across that referee's have favorites and that the fighting is rigged...which is spoofed when the referee goes into his "I wanna clean fight" routine. Elmer, at cartoon's end, turns the tables on the scheming ducks. The cartoon fades out as Elmer's throwing the ducks all over the boxing ring.

"Birth of a Notion" is one of the more hilarious ones. In this, Daffy gets tangled up with an evil scientist wanting his wish bone. The scientist is a caricature of Peter Lorre. Daffy was brought to the castle by a dog named Leopold...Daffy, not wanting to fly south for the winter, befriended the dog and was soon in the castle. Daffy overhears the scientist's plans of needing a duck's wishbone and soon it's a battle of wits between him and Daffy. The action takes place between the two of them so much that in one segment it shows Leopold griping about his lack of screen-time. In one of the most singled-out moments in the cartoon, Daffy attempts to throw a baseball bat at the scientist only for Leopold to grab it in time. This, however, causes the scientist to think his own dog is out to kill him and the scientist breaks the bat into tiny pieces. Daffy attempts to murder the scientist with a knife but the scientist is prepared...he lets out with a creepy, perverted giggle as he chases after Daffy, who, runs off hollering his trademark "hoo hoo hoo hoo".

The two Foghorn Leghorn cartoons appear on "Crowing Pains" and "Raw! Raw! Rooster". In the first cartoon, we see Henery Hawk on a quest for a chicken. The character has never really been written as a smart guy...more of a little tough guy instead...who can never recall what a chicken looks like since he's so easily fooled by Foghorn in all the cartoons. So, he usually listens to Foghorn's stories and claims about other animal's being chickens. In "Crowing Pains" the action revolves around Foghorn, the Barnyard Dog, and Sylvester the cat...although some cartoon purists would say it isn't Sylvester because the character doesn't have a patch of white fur on his tail...but the character design and speech pattern is definitely Sylvester. So, the three of them are consistently fighting amongst each other while Henery just wants to know which one of them is a chicken. This is one of the earlier Foghorn cartoons as Mel Blanc's vocal performance is more in step with bellowing and hollering his words instead of delivering them as the refined southern blow-hard the character became. 

Foghorn likes to play tricks on the dog...and Sylvester's presence causes the dog to be after the cat, natural instincts. Foghorn plants an egg under Sylvester at one point...further confusing Henery, who's actually inside the egg...a device Foghorn came up with. Henery finally decides to wait until sunrise to see which animal crows...Sylvester, prone to keeping his mouth open even when he isn't talking, has his mouth open a little as the sounds of a rooster is heard. The Dog looks over at Sylvester and gets a disgusted look because he knows Foghorn's tricks...and Henery drags Sylvester away.

"Raw! Raw! Rooster" is one of the later Foghorn cartoons...you'll notice the difference in Mel's delivery. The cartoon is about one of Foghorn's rivals coming for a visit...the rival is a big practical joker, which doesn't sit too well with Foghorn, who would rather play jokes on others instead of having them played on himself. The rival, known as Rhoad Island Red, mingles with Foghorn and has all the hen's love-struck, which causes further jealousy to mount. Rhoad Island Red was voiced by Daws Butler. Foghorn sends his rival away by the end of the cartoon and has a few going away prizes...filled with dynamite.

In "My Favorite Duck", Porky Pig attempts to have a relaxing time at a camp site only to be tormented by Daffy at each attempt. The joke of the cartoon is that the woods has a strict fine on hunting ducks...people aren't even allowed to harass or bother ducks. This, of course, allows Daffy to become over-bearing and do all sorts of things to Porky...who can't do anything because each time he attempts to strangle or hit Daffy, this would cause Daffy to whip out a sign that read "No Duck Hunting" or "No Harming Ducks". Later in the cartoon, the tables are turned, and Daffy finds himself as a most-wanted duck...each sign that he comes up with invites Porky to kill and shoot...one sign I think read "Open season on ducks...no limit". The cartoon ends rather Tex Avery-like with Porky and Daffy chasing one another around and around a tree...before long the cartoon's "film" starts to go haywire and it snaps into. Daffy pokes his head into the scene and goes about telling us how the film ended...only to be pulled off-camera by Porky, who finishes beating him up...with the cartoon ending as Porky drags Daffy across the screen.

"Jumpin' Jupiter" is a surreal cartoon...it involves Porky and Sylvester camping out in a dessert area. Later, aliens come down to Earth and literally lift the camp ground up and fly off with it into outer space. Sylvester awakens and reacts to all of this while Porky remains asleep. Even after the gravity pull is gone, Porky is clueless of what's going on...then the camp site appears on the planet Jupiter. Porky wakes up...Sylvester was up all-night experiencing everything. Sylvester spots one of the aliens...Porky meets the alien but mistakes him for some sort of Indian. Gags from this cartoon were re-used years later on the Daffy Duck film Daffy Duck's Quackbusters including the gag of Sylvester being so scared he turns stiff as a board around Porky's face and when thrown off, hits the ground with a hollow thud. Another re-used gag was the phrase "yellow dog of a cowardly cat", Porky's affectionate description of Sylvester.

In "Satan's Waitin", we see the story of Sylvester and his nine lives. The cartoon centers around a bulldog Devil wanting Sylvester to go through the last 8 lives rather quickly...often causing Sylvester to get into all kinds of predicaments, with his lives evaporating one by one. Each of his lives sit together on a rock couch down in the pits of fire...he soon decides to hide himself in a bank vault where no harm can come to him...since he only has one life left. Later, bank robbers blow up the vault and everyone's killed. The cartoon fades out with Sylvester and the bank robbers all taking a trip down to meet the devil.

The rest of the cartoons on DVD #1 are just as good as those that I mentioned. "Dog Gone South" is a laugh-out-loud cartoon about a dog's adventures on a plantation. In "Often an Orphan" we have the same dog being the victim of owner abandonment. At the start of the cartoon we see the dog purposely being left at a camp site by his master. The dog talks his way into Porky's life by trying to convince him he needs a dog. This goes back and fourth throughout much of the cartoon...near the end we see Porky and the dog in a very familiar scene at a camp site ready to have a picnic. Porky tells the dog to fetch a stick but being through that routine too many times the dog jumps into Porky's car instead and speeds off as the scene fades.