Doormat,, Non Slip Bath Mat Mildew Resistant

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1 Mese 1 Settimana fa #299 da WilliamR
Bedelia (1/3/30) – A character goes in his car to visit his girlfriend, but finds her asleep. The date doesn’t go as planned, and he winds up with a flower pot on his head. Underscore inclides “Do I Know What I’m Doing?” (recorded by Ethel Waters for Columbia); “Please Let Me Sleep” (an oldie from 1902, used quite frequently in cartoons, such as in the stork sequence from Mickey Mouse’s “Clock Cleaners” – no recording seems to turn up except a modern-day web performance by “Sheet Music Singer”); “Oh, How I Hate To Get Up In the Morning”; “Comin’ Thru the Rye”; “Old Black Joe”; and “What Wouldn’t I Do For That Man” (performed by the Charleston Chasers with Benny Goodman on Columbia, and as a vocal record by Helen Morgan on Victor – a torch singer familiar in parody to anyone who’s seen the ending of Warner’s “The Coo Coo Nut Grove”). “Bedelia” was from 1903, recorded by Billy Murray for Edison cylinder, the Haydn Quartet for Victor, and Arthur Collins for Monarch. Sousa’s Band would record a sort of “theme and variation” spoof in multiple tempos as “A Musical Joke on Bedelia” for Victor. Jan Garber recorded it on Okeh in the early 1940’s. James Moody later dredged it up for Blue Note as a sax instrumental. The song’s lyric also makes a reference to singer/composer Chauncy Olcott, who recorded a number of Irish standards during 1913-1920, and was the composer of “My Wild Irish Rose.”

In 2007, an album called Bone-a-fide Hits! (D000117412) was released, combining Sing-a-Long Songs with studio versions of “Doggie in the Window,” Puppy Love,” “My Dog’s Bigger Than Your Dog” and others, plus two music videos. It was followed by another disc of similar material from previous discs entitled 101 Dalmatians and Friends (D000112902), marketed as a “picture disc” because the CD had a color picture that could be seen through the jewel case cover, as the insert card had been removed. Discs like these were usually sold through special arrangements with retailers and to promote home video reissues.
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Here is a true discovery: note the animation credit given to Ray Patin (!!!). This is Patin’s only credit during his brief time at Warner Bros. and the copyright catalog got it wrong! Perhaps Warner Bros. provided the wrong information in the first place, but copyright entry lists Robert Cannon for animation – and that was transposed into my book, Looney Tunes and Merrie Melodies (1989). Cannon did animate on the film – the opening and closing shots in particular – so him being credited isn’t a mistake. But poor Ray Patin’s been denied his WB acknowledgement for almost 80 years. Doormat

File allegato:

Released in 1998. Restoration Producer/Digital Editor: Randy Thornton. Digital Restoration Executive Producer: Ted Kryczko. Musical Director: George Bruns. Audio Research: Scott McQueen, Glenn Ragland. Restoration/Mastering: John Polito. Art Direction: Luis Fernandez. Design: Janet Wilson, Marcella Wong. Illustrations: Phillippe Harchy Studios. Running Time: 57 minutes.

File allegato:

They called me back three or four times and the guy who was auditioning me was an actor who could do a great hippie voice and I thought he was just right for it. I got the part and the show lasted on the network for twenty-three years. They gave me the word “Zoinks” and having him say “like” I guess because of the hippie aspect. I did come up with the “Scoob, ol’ buddy of mine, ol’ pal” thing.

Buffed Bunny (Warner/Steven Spielberg, Tiny Toon Adventures, 9/20/90) – At a local ice cream parlor, Buster Bunny springs for a giant ice ceam cone for Babs Binny, with Babs telling the vendor to pile three kinds of ice cream, bananas, whipped cream, and a cherry atop it – then turns down the whole thing after it’s paid for because she’s on a diet. She inquires why Buster doesn’t watch his weight more, and Buster replies it’s because he’s on a “see food” diet – he sees it, and he eats it. Suddenly, Babs’ eyes pop out, as she oogles a billboard atop a nearby building, causing Buster to drop the ice cream mountain all over himself. Buster looks up to see a billboard for a diet cola, featiring a picture of body builder dog “Arnold” (a Schwarzenegger take-off in both build and voice). Buster can’t believe Babs would go for that sort of stuff, but Babs replies that girls drool for that kind of hunk. Observing his own muscles drooping like Bugs Bunny’s in “Bunny Hugged”, Buster decides a trip to Arnold’s gum is in order, where a sign proclaims that “We pump you ip and spit you out.” To illustrate the point, Plucky Duck is forcibly ejected from the door, landing in a heap on the pavement, and commenting. “These cameo roles are murder.” Arnold appears, informing Buster that “That workout didn’t work out. NEXT!”. then grabs Buster and hauls him inside.

Collector/ Historian Ira Gallen sent me a bunch of reels, and among these were a bunch of this pencil test and a demo reel from Don Oriolo Productions. A small scrap of paper was attached to one of the prints with the words ‘Pencil Test- Sturm/ Waldman. A complete spliced together 16mm print was labeled ‘Myron’ and another ‘Sturm’. I wonder if these were meant to be given back to these two animators.

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